确定你的声音类型

Determining your voice type

歌手通常渴望确定自己的嗓音类型，因为他们想归类。你可能听说过歌手的分类：

Singers usually are eager to determine their voice type because they want a category to belong to. You may have heard of the categories of singers:

• 女高音：较高的女声
• Soprano: Higher female voice
• 女中音：较低的女声
• Mezzo: Lower female voice
• 男高音：男高音
• Tenor: Higher male voice
• 低音：男声低音
• Bass: Lower male voice

如果你不确定哪一种适合你的声音，请浏览第二章。你会找到关于女高音和女中音的区别，以及男高音和男低音的区别的解释。你今天不必弄清楚自己的嗓音类型，但你可以浏览本章，这样你就知道唱歌时应该注意什么了。

If you aren’t sure which one applies to your voice, explore Chapter 2. You can find explanations of what makes a soprano differ from a mezzo, or a tenor differ from a bass. You don’t have to figure out your voice type today, but you can explore the chapter so you know what to listen for as you sing.

找到谱表上的音符

Locating the notes on the staff

如果你知道五线谱上音符的位置，那么理解音色类型可能就容易多了。（参见本章图 1-1。）音符的名称分别是 A、B、C、D、E、F 和 G。这些音符在钢琴上重复出现。

Voice types are probably easier to figure out if you know where to find the notes on a musical staff. (See Figure 1-1 in this chapter.) The names of the notes are A, B, C, D, E, F, and G. Those notes repeat across the piano.

• 高音谱号的空格对应着F、A、C和E四个音符。从五线谱的底部开始向上，这些音符组成了“face”（脸）。你可以用句子来记住其他音符。同样，从五线谱底部开始向上，五线谱上的音符分别是E、G、B、D和F，它们构成了句子“Every good boy does fine”（每个好孩子都很好）的开头字母。
• The treble clef spaces correspond to the notes F, A, C, and E. Beginning on the bottom of the staff and going up, the notes spell face. You can use sentences to remember the other notes. Again, starting on the bottom line and moving up, the notes on the lines of the staff are E, G, B, D, and F, letters that begin the words of the sentence Every good boy does fine.
• 对于低音谱号，空格是 A、C、E 和 G，它们分别代表句子“所有的奶牛都吃草”或“所有的汽车都吃汽油”的开头。低音谱号中的线是 G、B、D、F 和 A，分别代表“好孩子总是表现良好”。如果你更喜欢动物，那么可以使用“大狗打动物”。
• For the bass clef, the spaces are A, C, E, and G, the letters that begin the sentences All cows eat grass or All cars eat gas. The lines in the bass clef are G, B, D, F, and A, which correspond to Good boys do fine always. If you prefer animals, then use Great big dogs fight animals.

如果我说一个歌手的音域是中央 C 到高音 C，我必须用附加线来标记这两个音符，因为它们不在五线谱内。附加线是在五线谱上方或下方添加的额外线，用于表示高于或低于五线谱上音符的音符。当你在图 1-1中找到中央 C 时，你可以看到五线谱下方添加的额外线。在钢琴上找到中央 C 最简单的方法是查看印在覆盖琴键的琴盖上或上方的品牌名称。如果你找到了品牌名称，那么位于名称中间或左侧的 C 通常就是中央 C。

If I say that a singer’s range is Middle C to High C, I have to use ledger lines to notate those two notes because they’re not within the five-line staff. Ledger lines are extra lines added above or below the staff for notes that are higher or lower than the notes on the staff. When you find Middle C in Figure 1-1, you can see the extra line added below the staff. The easiest way to find Middle C on the piano is to look at the brand name printed on or above the lid covering the keys. If you find that brand name, the C right in the middle of that name, or just to the left, is usually Middle C.

中央 C 之所以称为中央 C，是因为它位于 88 个键的键盘的中间。中央 C 也称为 C4，因为它是键盘上的第四个 C。如果中央 C 是 C4，那么上面的 C 就是 C5，依此类推。C 是位于一对黑键左侧的音符。两个 C 之间的距离称为八度。如果从第一个C开始数，向上数八个白键，你会发现另一个 C 。这意味着中央 C（C4）上方的 E 是 E4。这很简单，但不是每个遇到的人都知道这个系统，所以我坚持使用有效的系统：中央 C。

Middle C is called Middle C because it’s in the middle of the keyboard that contains 88 keys. Middle C is also called C4, because it’s the fourth C on the keyboard. If Middle C is C4, then the next C above is C5, and so on. C is the note just to the left of the pair of black keys. The distance between the two Cs is called an octave. If you start counting at the first C and count eight white notes up, you find another C. That means the E just above Middle C (C4) is E4. Easy enough, but not every person you encounter knows this system, so I stick to what works: Middle C.

本书中还会提到降音和升音这两个词。降音表示音高降低半音，升音表示音高升高半音。升F是钢琴上F和G之间的黑键。F和G之间的同一个黑键可以称为降G。

You also encounter the words flat and sharp in this book. A flat lowers a pitch a half step and a sharp raises the pitch a half step. F-sharp is the black key on the piano between F and G. The same black key between F and G can be called G-flat.

考虑姿势、呼吸和音色

Considering posture, breath, and tone

首先，你要调整好自己的姿势——也就是说，让你的身体各部位都排列整齐，做好唱歌的准备——然后探索你的呼吸。唱歌时的呼吸与正常呼吸不同，因为你需要吸入更多空气，并在更长的时间内消耗更多空气。当你的空气流动起来时，你就可以探索你声音的音色。

First, you want to get yourself aligned — that is, line up all your body parts to get ready to sing — and then explore your breathing. Breathing while singing is different from breathing normally, because you have to take in more air and use more air over a longer period of time. When you get the air flowing, you can explore the tone of your voice.

• 矫正姿势，获得更佳音质：姿势对于歌唱至关重要。如果所有唱歌部位都排列正确，你就能更好地释放美妙的声音。掌握正确的站姿并非难事，但你可能需要稍作调整。如果你不习惯一直挺直腰板，一开始可能会感到有些不适应。第三章将探讨歌唱姿势。
• Correcting posture for a better sound: Posture is important in singing well. If all the parts for singing are lined up correctly, you stand a really good chance of getting wonderful sounds to come flying out of your body. Knowing how to stand isn’t rocket science, but it may take a little adjustment on your part. If you aren’t used to standing tall all the time, you may feel a bit awkward at first. Chapter 3 explores posture for singing.
• 掌握正确呼吸的诀窍：唱好歌的关键在于懂得如何运用呼吸来发出声音。你可能不知道如何让大量呼吸进入体内，并让呼吸持续到长乐句。如果你阅读第四章，你会发现各种各样的练习和讲解，教你如何练习呼吸，这样你就能唱出你最爱的歌曲中的长乐句了。
• Knowing the keys to proper breathing: The big key to great singing is knowing how to use your breath to make the sounds. You may not know how to get much breath in your body and then make it last throughout a long phrase. If you check out Chapter 4, you can find all kinds of exercises and explanations on how to work on your breath so you can sing those long phrases in your favorite song.
• 找到你的音色：声音的音色很重要，因为你想从嘴里发出最好的声音。通过探索音色练习，你可以改变你的声音。人们经常告诉我，他们想改变自己的发音方式。要改变你的声音，你需要知道如何发声。关于音色的两章，第五章和第六章，提供了大量的信息，教你如何开始一个音符，以及如何使这个音符发出特定的声音。
• Finding your tone: Vocal tone is important because you want the best sounds to come out of your mouth. By exploring exercises on tone, you can make changes to your sound. People often tell me that they want to change the way they sound. To change your sound, you need to know how you create sound. The two chapters on tone, Chapters 5 and 6, give you quite a bit of information about how to start a note and then what to do to make the note sound a specific way.

女士的最高音域：女高音

Highest range of the dames: Soprano

女高音是女性嗓音类型中音域最高的。其嗓音类型具有以下特点：

The soprano has the highest range of the female voice types. The following aspects are characteristic of her voice type:

• 音域：通常为中央 C 到高音 C，但有些女高音可以唱出远超高音 C 且比中央 C 低得多的声音（见图2-1）。

  女高音通常以高音C为主，许多女高音都能唱到高音C以上的G或A。合唱团指挥或音乐总监在判断歌手是否是女高音时，会聆听歌手的舒适区。虽然女中音也能唱到一些高音，但女高音比女中音更能轻松地唱出高音。

• Range: Often Middle C to High C, although some sopranos can vocalize way beyond High C and much lower than Middle C (see Figure 2-1).

  A soprano is expected to have a High C, and many sopranos can sing up to the G or A above High C. Choral directors or musical directors listen for the singer’s comfort zone when determining whether the singer is a soprano. Although a mezzo can reach some of these higher notes, a soprano is comfortable singing high notes more frequently than a mezzo.

• 音域转换：转换通常发生在女高音从中央 C 上方降 E 附近的胸腔共鸣转变为中央 C 上方八度 F 升调（五线谱顶部第五线）附近的头腔共鸣时。
• Register transitions: The transitions usually occur as the soprano shifts out of chest voice around the E-flat just above Middle C and into her head voice around F-sharp (fifth line on top of the staff) in the octave above Middle C.
• 力量：女高音的力量在于强大的头声。
• Strength: A soprano’s strength is a strong head voice.
• 音色：女高音的声音通常明亮而响亮。
• Voice tone: The soprano voice is usually bright and ringing.
• 弱点：女高音很难用中声部表达。
• Weakness: Sopranos have a hard time projecting in middle voice.

• 古典音乐中女高音的细分包括轻抒情、全抒情、轻抒情花腔、全抒情花腔、轻戏剧花腔、全戏剧花腔、轻戏剧（或称“戏剧女高音”）和全戏剧。请参阅附近侧边栏中关于细分的信息。

• Soprano subdivisions in the classical world include light lyric, full lyric, light lyric coloratura, full lyric coloratura, light dramatic coloratura, full dramatic coloratura, light dramatic (or spinto), and full dramatic. See the information in the nearby sidebar about subdivisions.

• 女高音歌手：女高音歌手更容易控制胸腔共鸣，通常唱得比女中音更高。不妨听听以下几位女高音歌手的名字：莫里塞特·阿蒙、惠特尼·休斯顿、凯莉·克拉克森、帕蒂·拉贝尔、辛迪·劳帕、奥莉维亚·纽顿-约翰和凯莉·皮克勒。
• Soprano belter: A soprano belter has an easier time managing her chest voice for belting and usually belts higher than a mezzo. Check out these names to hear some soprano belters: Morissette Amon, Whitney Houston, Kelly Clarkson, Pattie LaBelle, Cyndi Lauper, Olivia Newton-John, and Kellie Pickler.
• 常见演出角色：女高音通常在剧中担任主角，如《小美人鱼》中的爱丽儿、《音乐之人》中的图书管理员玛丽安、《托斯卡》中的托斯卡、《彭赞斯的海盗》中的梅布尔、 《波西米亚人》中的咪咪等。
• Common performance roles: The soprano is usually the lead in the show, such as Ariel in The Little Mermaid, Marian the Librarian in The Music Man, Tosca in Tosca, Mabel in The Pirates of Penzance, and Mimi in La Bohème.
• 点名：您可能知道的著名女高音包括朱莉·安德鲁斯、玛蒂娜·阿罗约、克里斯汀·贝尔、蒙塞拉特·卡巴耶、苏米·乔、莱昂蒂恩·普莱斯、奥德拉·麦克唐纳、多莉·帕顿和戴安娜·罗斯。
• Naming names: Famous sopranos you may know include Julie Andrews, Martina Arroyo, Kristen Bell, Monserrat Caballé, Sumi Jo, Leontyne Price, Audra McDonald, Dolly Parton, and Diana Ross.

她能走多远：女中音

How low can she go: Mezzo

女中音（mezzo 是女中音的缩写）和女高音之间的区别通常在于音域。（音域指的是歌曲中大多数音符所在的位置——声音唱起来最舒服的音符。）许多女中音可以唱到和女高音一样高，但她们无法保持和女高音一样高。例如，歌剧文学中的一些角色要求女中音唱到和女高音主唱一样高，但女中音通常不需要像女高音那样唱那么多高音——谢天谢地——因为女中音的舒适区通常与女高音不同；女中音更喜欢用中声部。另一方面，女高音讨厌用中声部，更喜欢唱高音，在管弦乐队之上翱翔。

The difference between a mezzo (mezzo is the abbreviated term for mezzo-soprano) and a soprano is often tessitura. (Tessitura refers to where most of the notes lie in a song — the notes that a voice feels most comfortable singing.) Many mezzos can sing as high as a soprano, but they can’t stay as high as a soprano. For example, some roles in operatic literature require the mezzo to sing as high as the soprano lead, but the mezzo usually doesn’t have to sing as many high notes as a soprano does — thank goodness — because the mezzo comfort zone is usually different than the soprano; mezzos prefer to live in their middle voices. On the other hand, a soprano hates to live in her middle voice, preferring to sing high notes and soar above the orchestra.

更让你困惑的是，很多女高音会唱女中音的曲目。她们怎么敢！这不公平，但这是事实。就像生活中的其他方面一样，女高音成名后，她会演唱自己喜欢的曲目，而这些曲目可能是为别人创作的，比如女中音。所以，女高音演唱的歌曲并不意味着这首歌就是女高音歌曲。你必须仔细观察歌曲的细节，比如音域，并判断这个音域是否适合你的声音。记住以下几点：

To further confuse you, many sopranos sing mezzo repertoire. How dare they! That’s not fair, but it’s a fact. As in other aspects of life, after the soprano becomes famous, she sings repertoire that she enjoys and that may be music written for somebody else, such as mezzos. So just because a soprano sings a song doesn’t mean that it’s a soprano song. You have to look at the details, such as the range of the song, and decide whether that range fits your voice. Keep the following in mind:

• 音域：中音的音域通常是从中央 C 下方的 G 到高音 B 或高音 C。许多中音能发出和女高音一样高的声音，但却无法处理高音的重复（见图2-2）。
• Range: The mezzo range is usually G below Middle C to a High B or High C. Many mezzos vocalize as high as a soprano but can’t handle the repetition of the upper notes (see Figure 2-2).
• 音域：中音的音域转换通常发生在中央 C 正上方的 E 或 F（第一个空格）处，以及高出一个八度的 E 或 F（第五线）。
• Register: The register transitions for the mezzo usually occur at E or F (first space) just above Middle C, and the E or F (fifth line) one octave above that.
• 优势：女中音具有强大的中音。
• Strength: Mezzos have a strong middle voice.
• 音色：女中音的声音通常比女高音的声音更暗淡或更深沉。
• Voice tone: The mezzo voice is usually darker or deeper than her soprano counterpart.
• 弱点：女中音的头声往往是她的弱点。
• Weakness: A mezzo’s head voice is often her weakness.
• 细分：女中音的一个细分是女低音。歌手经常误称自己是女低音。女低音是合唱音乐中列出的声部，但其声部类型要么是女中音，要么是女低音。女低音不如女中音常见，通常可以唱从中央C以下F到高音C以下F（第五线）左右的音。女低音的音色更深沉、饱满，更擅长演唱低音部分。有时歌手会故意降低嗓音，让自己听起来像女低音。女低音可能会将以胸声为主的音色升高到中央C以上G（第二线），并在中央C以上八度D（第四线）左右转换为头声。女低音的代表人物包括玛丽安·安德森和莫琳·福雷斯特。
• Subdivisions: One subdivision of mezzo is contralto. Singers often mistakenly say that they’re altos. Alto is the part listed in choral music, but the voice type is either mezzo or contralto. Less common than mezzos, contraltos can usually sing from F below Middle C to about an F (fifth line) below High C. A contralto has a darker, richer tone and is more at home in the lower part of her voice. Sometimes singers darken their voices intentionally to make themselves sound like contraltos. The contralto may take her chest voice–dominated sound up to a G (second line) above Middle C and shift into head voice around the D (fourth line), an octave above Middle C. Examples of contraltos include Marian Anderson and Maureen Forrester.

• 古典音乐界中女中音的细分包括轻抒情华彩、全抒情华彩、轻抒情、全抒情和戏剧女中音。戏剧女中音与戏剧女高音相似。公平地说，我承认戏剧女中音有时会演唱为戏剧女高音创作的角色。加油，姑娘们！

• Mezzo subdivisions in the classical world include light lyric coloratura, full lyric coloratura, light lyric, full lyric, and dramatic. The dramatic mezzo is similar to the dramatic soprano. To be fair to the sopranos, I confess that dramatic mezzos sometimes sing roles written for the dramatic soprano. You go, girls!

• 中音歌手：中音歌手的嗓音不如女高音歌手高。她的嗓音更厚重，更适合演唱低音部分。听听以下歌手的歌声，感受中音歌手的嗓音：阿黛尔、珀尔·贝利、凯伊·巴拉德、卡罗尔·伯内特、卡罗尔·钱宁、珍妮·杰克逊、安吉拉·兰斯伯里、蕾哈娜和莱斯利·厄加姆斯。
• Mezzo belter: A mezzo belter doesn’t belt as high as the soprano belter. She has a heavier chest voice and is more comfortable singing material that’s lower. Listen to these singers to hear the sounds of mezzo belters: Adele, Pearl Bailey, Kaye Ballard, Carol Burnett, Carol Channing, Janet Jackson, Angela Lansbury, Rihanna, and Leslie Uggams.
• 常见表演角色：女中音通常扮演母亲、女巫或镇上放荡的女孩。她扮演的角色包括一些有趣的角色，例如《安妮》中的汉尼根小姐、《美女与野兽》中的波兹太太、歌剧《卡门》中的卡门、 《阿依达》中的阿姆奈丽丝，以及《俄克拉荷马》中的埃勒姨妈！
• Common performance roles: The mezzo is often the mother, the witch, or the sleazy girl in town. Her roles include such fun ones as Miss Hannigan in Annie, Mrs. Potts in Beauty and the Beast, Carmen in the opera Carmen, Amneris in Aïda, and Aunt Eller in Oklahoma!
• 点名：你可能知道一些著名的女中音，包括特蕾莎·贝尔甘扎 (Teresa Berganza)、托妮·布莱斯顿 (Toni Braxton)、格蕾丝·邦布里 (Grace Bumbry)、卡伦·卡彭特 (Karen Carpenter)、帕齐·克莱恩 (Patsy Cline)、丹尼斯·格雷夫斯 (Denyce Graves)、KD·朗 (KD Lang)、洛里·摩根 (Lorrie Morgan) 和雪莉·维瑞特 (Shirley Verrett)（女中音，后来成为女高音）。除非你听到流行歌手的演唱，否则很难分辨她们是女高音还是女中音。
• Naming names: Famous mezzos you may know include Teresa Berganza, Toni Braxton, Grace Bumbry, Karen Carpenter, Patsy Cline, Denyce Graves, k. d. lang, Lorrie Morgan, and Shirley Verrett (mezzo who later became a soprano). Unless you hear the pop singer vocalize, it’s harder to tell if they’re a soprano or mezzo.

您可以在第 16 章中找到有关为您的声音选择合适歌曲的更多信息，并在附录 A中找到适合不同声音类型的歌曲列表。

You can find more information about selecting appropriate songs for your voice in Chapter 16 and a list of songs for different voice types in Appendix A.

男高音的最高音域：男高音

Highest range of the dudes: Tenor

感谢三大男高音、爱尔兰男高音，甚至还有“三大男高音”，你可能对男高音的声音有了一定的了解。以下信息或许对你有所帮助：

Thanks to the Three Tenors, the Irish Tenors, and even Three Mo’ Tenors, you probably have a good idea of what a tenor sounds like. The following can help:

• 音域：男高音的音域如图2-3所示，大约有两个八度，很多唱腔比C（低音谱号的第二空格）稍低，比男高音C（高音谱号的第三空格）稍高。
• Range: The tenor range, shown in Figure 2-3, is about two octaves, with many singing a little lower than C (second space in bass clef) and a little higher than the male High C (third space treble clef).
• 音域：男高音的声音并没有从低音到中音的巨大转变。他向中音的过渡发生在D音左右。高于中央 C 或高于中央 C 的降 E，然后过渡到高于中央 C 的 G 或降 A 附近的头声。
• Register: The tenor voice doesn’t make a huge transition from his lower voice to his middle voice. His transition into his middle voice occurs around D just above Middle C or the E-flat just above Middle C and then a transition into head voice around G or A-flat above Middle C.
• 力量：男高音的力量在于他的头声。
• Strength: The tenor’s strength is his head voice.
• 声音音色：男高音的声音通常明亮而响亮。
• Voice tone: The tenor voice is usually bright and ringing.
• 弱点：他的弱点常常是胸腔共鸣。
• Weakness: His weakness is often his chest voice.
• 细分：在音乐剧中，男高音中有一类被称为“上低音”（baritenor）的细分，占据主导地位。这种嗓音类型的人能够演绎男高音的中音和高亢洪亮的低音。在歌剧界，另一种常见的嗓音类型是假声男高音——听起来像女声的男歌手。这种嗓音的音域与女中音（有时是女高音）相同，听起来也相似。当你听过足够多的假声男高音演唱后，你就能区分他们。在此之前，请尽情享受这些绅士为歌唱界带来的独特魅力。
• Subdivisions: In musical theater, a subdivision of the tenor, called the baritenor, reigns. This voice type is someone with the power to project in the middle voice and the higher, ringing money notes of the tenor. The other voice type that you frequently hear in the opera world is the countertenor — a male singer who sounds like a female. This voice type sings in the same range as the mezzo (sometimes soprano) and sounds similar. When you’ve heard the countertenor singing enough, you can distinguish him from a mezzo. Until then, just enjoy the unique quality that these gentlemen bring to the singing world.

• 古典音乐中，男高音的细分包括轻抒情、抒情、戏剧和英雄男高音。英雄男高音也被称为戏剧男高音或英雄男高音——嗓音洪亮、体力充沛的男高音。不要在当地酒吧里挑战他参加歌唱比赛。

• Tenor subdivisions in the classical world include light lyric, full lyric, dramatic, and heroic. The heroic tenor is also called a dramatic tenor or heldentenor — the guy who has a large voice with great stamina. Don’t challenge him to a singing contest at the local pub.

• 常见表演角色：男高音几乎总是在演出结束时赢得女孩芳心的主角。例如《波西米亚人》中的鲁道夫、《卡门》中的唐·何塞、《西区故事》中的托尼、《42街》中的比利，以及《音乐之声》中的罗尔夫。
• Common performance roles: The tenor is almost always the lead who wins the girl at the end of the show. Examples include Rodolfo in La Bohème, Don José in Carmen, Tony in West Side Story, Billy in 42nd Street, and Rolf in The Sound of Music.
• 点名：你可能知道的著名男高音包括普拉西多·多明戈、何塞·卡雷拉斯和卢恰诺·帕瓦罗蒂，你可能也知道他们被称为“三大男高音”。你也可能知道埃尔顿·约翰、乔纳斯·考夫曼、布鲁诺·马尔斯、麦克斯韦尔、贾斯汀·汀布莱克和史蒂夫·旺德。
• Naming names: Famous tenors you may know include Plácido Domingo, José Carreras, and Luciano Pavarotti, whom you may recognize as the Three Tenors. You also may know Elton John, Jonas Kaufmann, Bruno Mars, Maxwell, Justin Timberlake, and Stevie Wonder.

他太低调了：巴斯

He’s so low: Bass

男低音是所有嗓音类型中最低的。男低音就像理发店四重唱里唱所有酷炫低音的人。以下是一些特点：

Bass is the lowest of the voice types. The bass is the guy who sings all the cool low notes in the barbershop quartet. Here are some characteristics:

• 音域：他的音域通常是 F（低音谱号下方）到 E（高音谱号第一线），但也可以宽至降 E 到 F（见图2-4）。
• Range: His range is usually F (below the bass clef staff) to E (first line treble clef) but can be as wide as E-flat to F (see Figure 2-4).
• 音域转换：低音在中央 C 下方的 A 或降 A 附近从胸腔共鸣变为中音，在中央 C 上方的 D 或降 D 附近从头腔共鸣变为头音。
• Register transitions: The bass changes from chest voice into middle voice around A or A-flat just below Middle C and changes into head voice around D or D-flat just above Middle C.
• 力量：他的胸腔共鸣声就是他的力量。
• Strength: His chest voice is his strength.
• 音色：他的声音是男声中最深沉、最暗淡、最沉重的。
• Voice tone: His voice is the deepest, darkest, and heaviest of the male voices.
• 弱点：他的头声是他的弱点。
• Weakness: His head voice is his weakness.
• 细分：男中音位于男高音和男低音之间。男中音非常常见。年轻的男低音歌手通常从男中音开始，然后声音转变。男中音通常可以唱出从A（第一个空低音谱号）到低于男高音C的F（第一个空高音谱号）的音域。低男中音兼具男中音的高度和男低音的深度；他的音域通常从降A（第一个空低音谱号）到F（第一个空高音谱号），有时甚至高达低于男高音C的G。男中音的音域转换通常发生在中央C下方的B或降B，以及中央C上方的E或降E。
• Subdivisions: Filling in the middle between tenor and bass is the baritone. Baritones are very common. Young bass singers often start out as a baritone and then the voice changes. The baritone can usually sing from an A (first space bass clef) to F (first space treble clef) below the male High C. The bass-baritone has some height of the baritone and some depth of the bass; his range is usually A-flat (first space bass clef) to F (first space treble clef) and sometimes as high as G below the male High C. The baritone’s register transitions usually occur at the B or B-flat just below Middle C and the E or E-flat above Middle C.

• 男低音的细分包括喜剧男低音（剧中滑稽的人物），以及抒情男低音和戏剧男低音。他的同门——男中音，也分为轻抒情男中音、全抒情男中音和低男中音。

• Bass subdivisions include the comic bass (funny guy in the show), as well as lyric and dramatic bass. His subdivision buddy, the baritone, also comes in different shapes and sizes: light lyric baritone, full lyric baritone, and bass baritone.

• 常见表演角色：男低音或男中音通常扮演反派、父亲或老人。例如《阿依达》中的拉姆菲斯、《天皇》中的天皇，以及《俄克拉荷马！》中的朱德·弗莱。但这种反派形象的例外包括《卡米洛特》中的亚瑟王、《波吉与贝丝》中的波吉，以及《卡门》中的斗牛士。
• Common performance roles: The bass or baritone is often the villain, father, or older man. Examples include Ramfis in Aïda, the Mikado in The Mikado, and Jud Fry in Oklahoma! Some exceptions to this villain image are King Arthur in Camelot, Porgy in Porgy and Bess, and the Toreador in Carmen.
• 点名：你可能知道的著名男低音包括库尔特·莫尔 (Kurt Moll)、勒内·帕佩 (René Pape) 和塞缪尔·拉米 (Samuel Ramey)。著名的低男中音包括特雷斯·阿德金斯 (Trace Adkins)、何塞·范·达姆 (José van Dam)、西蒙·埃斯蒂斯 (Simon Estes)、威廉·沃菲尔德 (William Warfield) 和巴里·怀特 (Barry White)。男中音包括布莱恩·斯托克斯·米切尔 (Brian Stokes Mitchell)、约翰·雷特 (John Raitt) 和汤姆·沃帕特 (Tom Wopat)。
• Naming names: Famous basses you may know include Kurt Moll, René Pape, and Samuel Ramey. Famous bass-baritones include Trace Adkins, José van Dam, Simon Estes, William Warfield, and Barry White. Baritones include Brian Stokes Mitchell, John Raitt, and Tom Wopat.

比较声音类型

Comparing voice types

为了更好地了解嗓音类型，不妨听听这些歌手和歌曲，比较一下不同嗓音类型的发音。如果您是古典音乐爱好者，前面的信息正适合您。如果您不是古典音乐爱好者，可以直接跳到“不在歌剧院”部分，或者跳回到每种嗓音类型下的“命名名称”列表，查看您在收音机里听到的一些歌手。或者继续阅读，了解那些古典音乐爱好者到底在说什么。

To get a better idea of voice types, check out these singers and songs to compare sounds of different voice types. If you’re a classical music fan, the info ahead is just for you. Not a classical music fan? Skip ahead to the section, “Not at the opera,” or jump back to the list of Naming Names under each voice type for some singers you hear on the radio. Or keep reading to figure out what those classical music nuts are going on about.

脚踏实地

Feeling grounded on your feet

良好姿势的根源在于双脚的位置和双脚的重量平衡。双脚似乎与唱歌过程无关，但双脚均匀分布重量可以让所有肌肉得到放松，从而发出美妙的声音。尝试以下顺序，找到双脚重量的平衡。

The root of good posture is the position of your feet and the balance of weight on your feet. Seems like the feet are a long way from the singing process, but equal distribution of weight on the feet allows all the muscles to stay released so you can make gorgeous sounds. Try this sequence to find the balance of weight on your feet.

1. 站立时，转动脚来找到三脚架。

   在地板上滚动你的脚，画一个圆圈，从脚后跟开始，经脚外侧、脚趾，再向下到脚内侧。滚动脚时，你会感觉到脚后跟骨、小脚趾下方的骨头或突起，以及大脚趾下方的另一个突起或骨头。在这三个点之间滚动几次，直到你真正感觉到它们。有些人把这三个点称为“三脚架” 。

   如果你不确定转动脚时是否感觉到了三脚架，可以坐下来，沿着脚底摸索，找到这三个点。慢慢地感受每一个点。观察图 3-1中的骨骼，特别注意构成脚的骨骼。

2. While you’re standing, roll your foot to find the tripod.

   Roll your foot on the floor to make a circle that moves from your heel through the outside of your foot, across your toes, and down the inside of your foot. As you roll the foot, you feel the heel bone in the back of your foot, a bone or protrusion under your little toe, and another protrusion or bone under your big toe. Roll among these three points several times so that you really feel the points. Some people call these three points the tripod.

   If you aren’t sure whether you felt the tripod when you rolled your foot, sit down and feel along the bottom of your foot to find the three points. Take your time and feel each point. Look at the skeleton in Figure 3-1 and take special notice of the bones that make up the foot.

3. 当您确信感觉到脚上的三个点时，请将您的重量平衡在这三个点上。

   “三条腿的桌子永远是水平的”这句话在这里适用。你需要让你的体重均匀地分布在这三个点上。如果你刻意向后倾斜，把体重放在脚后跟上，你会感觉到身体前侧收紧，支撑着你。同样，如果你向前倾斜，把体重放在脚前侧，你会感觉到身体后侧收紧。照照镜子，或者观察你身体的紧张程度。试着找到中心点，或者你既不向前也不向后的位置；你的双脚保持平衡，并且保持直线。

4. When you’re confident that you feel the three points on the foot, balance your weight on those three points.

   The phrase that the three-legged table is always level applies here. You want your weight evenly balanced on the three points. If you intentionally lean back and put your weight on your heels, you feel the front of your body tighten to hold you up. Likewise, if you lean forward and put your weight on the front of your feet, you feel the back of your body tighten. Watch yourself in the mirror or observe the tension in your body. Try to find the center, or the position where you’re neither forward nor back; you’re evenly balanced on your feet and aligned.

5. 当你在一只脚上找到三个点并保持平衡时，在另一只脚上找到它们。
6. When you find the three points and your balance on one foot, find them on the other foot.

练习站立时，将身体重心平衡在三个点上，确保身体不会向外侧倾斜。有些人会不自觉地将脚内侧抬起，脚外侧压在地面上。这种姿势会给身体带来紧张感。当你将脚外侧压在地面上时，你能感受到腿部外侧的紧张感。照照镜子，检查你的双脚是否在三个点上保持平衡。

Practice standing with your weight balanced on the three points to make sure that you’re not rolling your weight to the outside of your feet. Some people unconsciously stand with the inside of their feet raised and the outside of their feet pressed into the ground. This stance creates tension in your body. You can feel the tension on the outside of your legs when you press the outside of your feet into the floor. Watch yourself in the mirror to check that your feet are balanced on the three points.

锻炼双腿

Engaging your legs

唱歌时，你需要全身心投入，才能发出声音。双腿是你的支撑系统，你需要它们支撑你，而不是绷紧。试试以下建议，学习如何锻炼你的双腿。

For singing, you want to engage the entire body in making sound. The legs are your support system, and you want them to hold you up without tightening. Try the following suggestion to discover how to engage your legs.

要想在唱歌时感受到双腿的参与，可以在吸气时做屈膝动作。屈膝的意思是“弯曲”，吸气时膝盖要弯曲。这种弯曲能让你感受到一种贯穿全身、直达双腿的开放感。唱歌时，你可以逐渐从弯曲处站起来。每次换气时，再次做屈膝动作，让双腿也感受到开放感，然后慢慢站起来。练习几周后，试着唱一首不做屈膝或弯曲动作的歌，看看你是否能在吸气和吸气时找到同样的双腿开放感。边唱歌边参与。回顾图 3-1中的骨骼；注意腿部的骨骼以及膝盖的形状。

To feel the legs engage as you sing, use a plié as you take the breath. Plié means “to bend,” and you want to bend your knees as you inhale. This bending helps you feel an opening sensation through your body and down into your legs. As you sing, you can gradually stand back up from the bend. With each new breath, plié again to create the opening sensation in your legs and gradually stand back up. After you practice this way for a few weeks, try singing a song without the plié or bend to see if you can find the same feeling of opening in your legs as you inhale and engage as you sing. Review the skeleton in Figure 3-1; notice the bones in the legs and also the shape of the knees.

唱歌时，膝盖不要锁死，也不要往后推。锁死膝盖也会锁死你的下背部，而你需要打开下背部来吸气。

For singing, you don’t want to lock your knees or push your knees back. Locking your knees also locks your lower back, and you want your lower back to open for inhalation.

相反，你应该保持膝盖放松。放松的膝盖并非锁定——但也不会弯曲。为了区分放松和弯曲的膝盖，请站立，并通过向后推膝盖来锁定膝盖，直到膝盖周围的肌肉锁定。不要弯曲膝盖，放松周围的肌肉。再次锁定膝盖，当你放松肌肉时，弯曲膝盖。在锁定位置和弯曲位置之间来回移动。你需要感受放松的姿势，它介于锁定和弯曲之间。弯曲的膝盖会让你显得矮一些。放松的膝盖可以保持你的身高不变，膝盖周围的肌肉不会紧张。

Instead, you want to keep your knees released. Released knees aren’t locked — but they’re also not bent. To find the difference between released knees and bent knees, stand and lock your knees by pushing the knee backward until the muscles around the knee lock. Without bending the knees, release the muscles around them. Lock the knees again, and when you release the muscles, bend your knees. Move back and forth from the locked position to the bent position. You want to feel the released position, which is between locked and bent. Bent knees make you a little shorter. Released knees keep you the same height, without tight muscles around your knees.

为了防止膝盖紧张，你可以想象膝盖里有一根弹簧，或者假装膝盖里有油，就像《绿野仙踪》里的铁皮人一样，这样膝盖就能灵活地活动。试着用弹簧的视觉来感受重量均匀分布在腿和脚上，以及将重量压在腿和膝盖上并产生张力之间的区别。

To prevent tension in your knees, you can visualize a spring in your knees or pretend that you have oil in your knees, like the Tin Man in the Wizard of Oz, so that they move smoothly. Try using the visual of the spring to feel the difference between weight evenly distributed through the legs and feet and sinking your weight into your legs and knees and creating tension.

放松臀部

Releasing your hips

再次参考图 3-1，观察臀部或骨盆。你可以把臀部想象成你试图塞进紧身牛仔裤里的部分。我希望你看到的是骨盆，而不是去年冬天增加的那 10 磅体重。如果你熟悉骨骼，你就会知道，我说的“摇动臀部”指的是移动骨盆。

Refer again to Figure 3-1 and look at the hips or pelvis. You may think of the hips as what you try to squeeze into your tight jeans. I want you to visualize the pelvis and not those extra 10 pounds you gained last winter. If you’re familiar with the skeleton, you know that I’m talking about moving the pelvis when I say “rock your hips.”

为了找到臀部的最佳位置，请前后摇动臀部——先将臀部向后推，然后再向前推。当你向后摇动臀部时，你能感觉到下背部产生的紧张感。这种紧张感不利于唱歌。向前摇动臀部可以帮助你判断臀部是否过于前倾——你会感觉臀部在躯干前方。相反，你应该让臀部位于躯干正下方，尾骨收在身下。

To find just the right position for your hips, rock back and forward — push your buttocks back and then push them forward. When you rock the hips back, you can feel the tension created in your lower back. That tension isn’t good for singing. Rocking the hips forward helps you feel when they’re too far forward — you feel like your hips are in front of your torso. Instead, you want your hips right underneath your torso, with your tailbone tucked under you.

当你确信自己能感觉到臀部正中时，就可以左右移动臀部。很多人站立时臀部会向左或向右翘起。这种姿势可能适合日常交谈，但不利于唱歌。臀部偏向一侧时，背部会错位，造成紧张。照着镜子，左右或前后移动臀部，直到感觉到臀部正中。你的躯干。这个中心位置，不前不后，不左不右，是唱歌的理想位置。

When you’re confident that you can feel when your hips are centered under you, you can move your hips from left to right. Many people stand with their hips sticking out to the left or right. That posture may be fine for casual conversation, but it’s not helpful for singing. When your hips are off to one side, your back is out of alignment, causing tension. Watching yourself in the mirror, move your hips from left to right or front to back until you feel the centered position underneath your torso. This centered position, neither front, back, right, nor left, is the ideal position for singing.

因为很多人臀部下沉，所以你需要了解臀部抬高是什么感觉。臀部抬高意味着你感觉到臀部和躯干之间有一个开口。你可以刻意地让臀部下沉，感受身体增加的压力。臀部下沉时，你可能会感觉更重、更下垂。要让臀部抬高，感受臀部和躯干之间的弹簧或减震器，并想象你的躯干从双腿中抬起。

Because many people sink into their hips, you want to understand what it feels like to lift out of your hips. Lifting out of your hips means that you feel an opening between your hips and your torso. You can intentionally sink into your hips to feel the added pressure on your body. You may feel heavier and slumped when you sink into your hips. To lift out of your hips, feel the spring or shock absorber between your hips and torso, and imagine your torso rising out of your legs.

双脚的位置会影响臀部。正如我在本章前面“双脚的位置”一节中讨论的那样，你需要将双脚置于髋骨下方，并保持脚趾平行。这个姿势不仅会影响腿部肌肉，还会影响臀部肌肉和坐骨的位置。坐骨，又称坐骨，是骨盆的骨点，你可能会感觉到它们在臀部内侧突出。通过将臀部和脚趾置于正确的位置，可以让坐骨和臀部保持放松，肌肉保持打开。这样，你就能拥有良好的歌唱姿势和顺畅的呼吸。

The position of your feet affects your hips. As I discuss in the section, “Putting your feet in position,” earlier in this chapter, you want to position your feet under your hipbones and keep your toes parallel. This position affects not only the muscles in your legs, but also the muscles in your hips and the positioning of the sit bones. The sit bones, or sitz bones, are the bony points of your pelvis that you may feel sticking out inside your buttocks. By positioning the hips and toes in just the right position, you allow the sit bones and hips to stay released and the muscles to stay open. You then have great posture and easy breathing for singing.

延长脊柱

Lengthening your spine

脊柱是人体内部一组奇妙的弯曲骨骼，它们彼此堆叠。图 3-1显示了脊柱的自然曲线。脊柱的紧张会导致呼吸紧张。为了拉长和放松脊柱，您需要从内到外打开和拉长身体。想象您的脊柱修长而灵活，并感受尾骨和头骨之间的距离。为了保持良好的姿势，您需要尾骨位于身体下方并朝向地板，同时头骨向上抬起。您不想感觉到身体有拉扯感；您想要一种打开和拉长的感觉。您可以想象脊柱的每块骨头或椎骨之间都有空间。脊柱与胸腔相连，您希望脊柱随着胸腔一起拉长和打开。

The spine is the marvelous curvy set of bones stacked on top of each other inside your body. Figure 3-1 shows the natural curve of the spine. Tension in the spine causes tension for breathing. To lengthen and release the spine, you want to open and lengthen your body from the inside out. Visualize your spine as long and flexible, and feel the distance between your tailbone and your skull. For great posture, you want your tailbone under you and headed to the floor while your skull lifts to the sky. You don’t want to feel a pulling sensation in your body; you want an opening and lengthening sensation. You can visualize space between each bone or vertebrae of your spine. Your spine connects with your rib cage, and you want your spine to lengthen and open with your rib cage.

保持头部和肩膀的平衡

Balancing your head and shoulders

脊柱顶端是颈部。颈部应该是弯曲的——请看图 3-1中骨骼中颈部的曲线。如果你还记得上一节中脊柱的张开和延长，你可以继续将这一思路延伸到头部，使头部在脊柱上方保持平衡。想象一下放在汽车仪表盘上的摇头娃娃：娃娃的身体不动，但头部会上下摆动。你需要让你的头部轻松地在脊柱上方保持平衡。

At the top of the spine is your neck. The neck is supposed to be curved — check out the curve of the neck in the skeleton in Figure 3-1. If you remember the opening and lengthening of the spine from the previous section, you can continue that idea of lengthening through the neck up into the head so that the head balances on top of the spine. Think of the bobble-head dolls that sit on the dash of the car: The body of the dolls doesn’t move, but the head bobs around. You want your head balanced that easily on top of your spine.

要感受头部的重量，就让头部感觉沉重，就像它就在你的肩膀上一样。这种重量和压力过一段时间后会让人感觉不舒服，所以你需要感受到来自身体内部的头部打开和抬起的感觉。试图抬起头部只会增加颈部的压力。你的头部重量大约相当于一个保龄球——它很重，所以需要一些支撑才能保持向上。

To feel the weight of your head, allow your head to feel heavy, as if it sits right on your shoulders. This weight and pressure doesn’t feel good after a while, so you want to feel an opening up and lifting of the head that comes from inside the body. Trying to push up the head only causes tension in your neck. Your head weighs about the same as a bowling ball — it’s pretty heavy, so it needs some help to stay up.

你可以想象你的头部平衡地位于脊柱上方。与这种感觉或视觉相反的是头部下沉或压在脊柱上方。

You can visualize your head balanced on top of your spine. The opposite of this sensation or visual is the head sinking or pressing down on top of the spine.

为了保持头部在身体上的平衡，你需要保持肩膀的平衡。肩膀位于肋骨上方，其位置和平衡至关重要。向前转动肩膀，感受它如何拉伸和弯曲你的背部，并收缩你的胸部。然后向后转动肩膀，感受它如何将你的胸部向前推。肩膀的理想位置是不前也不后，也不上下压；这是一种平衡。

To keep your head balanced on your body, you want your shoulders to be evenly balanced. Your shoulders sit on top of your rib cage, and their position and balance are important. Roll your shoulders forward to feel how it stretches and curves your back and collapses your chest. Then roll your shoulders back to feel how it thrusts your chest forward. The ideal position for your shoulders is neither forward nor back, and pressing neither up nor down; it’s an even balance.

当你活动肩膀时，你也能感觉到肩胛骨在移动。如果你收紧肩胛骨，你会感觉到胸腔的紧张。为了保持良好的姿势，你需要打开肩胛骨，并在背部放松；吸气时，肩胛骨也需要向下放松。为了保持肩膀的平衡，你还需要感受手臂和胸部之间的连接。观察图 3-1，观察手臂和肩膀之间的连接，并注意肩膀如何位于胸腔上方。

When you move your shoulders, you can also feel your shoulder blades moving. If you tighten your shoulder blades, you feel tension in your rib cage. For good alignment, you want your shoulder blades open and released across your back; you want the shoulder blades to release downward as you inhale. To balance the shoulders, you also want to feel the connection between your arms and your chest. Look at Figure 3-1 to see the connection between the arms and shoulders and notice how the shoulders sit on top of the rib cage.

放松上半身的紧张

Letting go of tension in your upper body

为了释放手臂和手部的紧张感，您还需要检查手臂和手部的周围区域。

To release any tension in your arms and hands, you also want to check in with the areas surrounding the arms and hands.

• 胸部：检查胸部的位置，确保其打开并抬起，而不是被推上去。
• Chest: Check the position of your chest to make sure that it’s open and lifted, not pushed up.
• 肩膀：挺胸抬头，注意肩膀的位置。肩膀要居中，既不能太前，也不能太后。
• Shoulders: With your chest open and lifted, notice the position of your shoulders. You want your shoulders centered, neither too far forward nor too far back.
• 手臂：收紧手臂，感受一下那种感觉。手臂收紧时，你会感觉背部甚至胸部都紧绷。放松手臂的紧张感，感受它们仿佛张开的感觉。
• Arms: Tighten your arms and notice what that feels like. When your arms are tight, you feel tight across your back and perhaps across your chest. Release the tension in your arms and notice that they feel as if they opened.
• 肘部：你可能已经发现，当你的肘部紧绷时，你的背部和肩胛骨也会非常紧绷。你所有的肌肉都相互连接，需要保持平衡的关系来支撑身体。你的肘部也会感觉像有弹簧一样，类似于你在本章前面探讨过的脚踝和膝盖的视觉效果。你的肘部和身体之间应该保持一定的距离；你不希望肘部压迫身体或向外推身体。
• Elbows: You may have discovered that when your elbows are tight, your back and shoulder blades are really tight. All your muscles are connected and need a balanced relationship to support the body. Your elbows can also feel like they have a spring in them, similar to the visual you may have explored with your ankles and knees earlier in the chapter. Your elbows and your body should have distance between them; you don’t want your elbows to press against your body or push out from your body.
• 手部：同样的压力释放方法也适用于你的手部。如果你收紧手部和手腕，你会感觉到压力沿着手臂向上，穿过背部和胸部。当你释放手部压力时，你可能会感觉它们不像你之前绷紧手部肌肉时那么沉重。
• Hands: The same tension release can apply to your hands. If you tighten your hands and wrists, you can feel the tension move all the way up your arms and across your back and chest. When you release the tension in your hands, you may feel as if they aren’t as heavy as they were when you tensed the muscles in your hands.

头部的开放空间

Opening space in the head

信不信由你，头部和面部的紧张在歌手中相当常见。当你扬起眉毛或皱起眉头时，你就能感受到面部的紧张。即使你看不到皱纹，面部肌肉也可能处于紧张状态。继续阅读，了解如何释放明显和不可见的紧张感。

Believe it or not, tension in the head and face is pretty common in singers. You can see tension in the face when the eyebrows lift or the brow furrows. The facial muscles may also hold tension, even though you may not see the face wrinkle. Read on for information about how to release both obvious and invisible tension.

对着镜子看着你的脸。收紧面部肌肉，这样你就能看到肌肉收缩的现象。现在放松一下，感受一下那种感觉。放松下来后，你的脸可能会感觉更宽阔或更开阔。多收紧和放松几次，这样你就能真正感受到变化。注意额头上肌肉想要抬起或皱起眉头时产生的紧张感。

Look in the mirror at your face. Tighten your face so that you can see the muscles squeezing together. Now release that tension and notice what it feels like. When the tension releases, your face may feel wider or more open. Tense and release several more times so you can really feel the difference. Notice any tension in your forehead from the muscles wanting to either lift or furrow the brow.

额头是经常产生紧张感的部位之一。如果你注意到唱歌时额头起皱，可以垂直贴一条透明胶带，贴在两眉之间。贴紧额头时，你可以感觉到胶带在移动。唱歌或说话时眉毛偶尔移动是正常现象，但保持额头不受紧张才是关键。

One area that commonly generates tension is the forehead. If you notice your forehead wrinkling as you sing, stick a piece of clear tape vertically on your forehead between your eyebrows. You can feel the tape move when you tighten your forehead. It’s normal for your eyebrows to occasionally move as you sing or speak, but keeping your forehead free of tension is the goal.

接下来，注意眼睛是否有紧张感。眼睛紧张的感觉就像眯眼或眼后紧绷。当眼睛睁开且没有紧张感时，感觉就像你看到某个东西时眼睛后方的睁开感。让你感到惊讶。假设一位许久未见的朋友走进门来。注意你睁开眼睛，并感受到眼后空间感。睁开或释放眼后紧张感也有助于额头放松。

Next, notice any tension in your eyes. Tension in your eyes feels like squinting or a tightness behind your eyes. When the eyes are open and free of tension, it feels similar to the opening you feel behind your eyes when you see something that surprises you. Pretend that a friend you haven’t seen in a long time walks through the door. Notice the opening of your eyes and a feeling of space behind your eyes. The opening or release of tension behind the eyes also helps the forehead to relax.

释放头部紧张感并打开空间需要让头部肌肉保持柔韧性。如果你长时间眯着眼或高度集中注意力，你的头部可能会因紧张性头痛而疼痛。为了避免紧张，可以按摩头皮。看看头皮上的皮肤是否能活动起来。如果头皮很紧，可能活动不大，但通过按摩和拉伸，或许可以让它稍微活动一下。你还可以想象你的头部由内而外地扩张。

Releasing the tension in your head and opening the space involves allowing the muscles to stay pliable on your head. If you squint or concentrate really hard for a long time, your head may start to hurt from a tension headache. To prevent that tension, massage your scalp. See whether you can get the skin on your scalp to move around. It might not move much if it’s tight, but you may get it to move a little by massaging and stretching it. You can also visualize your head expanding from the inside out.

再照照镜子，注意一下嘴巴周围的空间。当你感到恼火或沮丧时，嘴巴周围的肌肉可能会收紧。为了缓解嘴巴和脸部周围的紧张，可以假装无聊。如果你假装非常无聊和无趣，你会感觉到嘴巴周围的紧张感消失了。

Look in the mirror again and notice the space around your mouth. When you’re annoyed or frustrated, the muscles around your mouth may tighten. To release the tension around your mouth and face, look bored. If you pretend to be really bored and dull, you’ll feel tension around your mouth release.

轻松行走

Walking with ease

保持行走姿势对你的形象以及在行走或移动中唱歌的能力有很大影响。你可能真的需要边走边唱。教堂唱诗班一边走动一边唱歌，伴唱歌手一边跳舞一边跟着音乐起舞。如果你需要穿过舞台怎么办？你想在舞台上行走和落地唱歌的整个过程中都看起来光彩照人。

Maintaining your posture while you walk makes a big difference in your appearance and your ability to sing while walking or moving. You may actually have to sing while walking around the stage. Church choirs sing as they process, and backup singers groove to the music as they dance. What if you have to cross the stage? You want to look glorious for the entire time that you’re walking onstage and when you land in place to sing.

为了保持行走姿势，走路时要抬头向前看。即使不看地面，你仍然可以看到前进的方向。你也希望能够以正确的姿势落地。当你走上舞台表演时，你需要以正确的姿势落地，这样就不用调整姿势了。

To maintain your posture while walking, keep your eyes up and look ahead as you walk. You can still see where you’re going even if you’re not looking at the ground. You also want to be able to land in correct alignment. When you have to walk onto the stage for a performance, you want to land in alignment so you don’t have to adjust your position.

练习站立时找到身体的正位。然后走几步，落地时保持正位。落地时是否保持正位？低头看看双脚，看看它们是否与髋骨平行且距离相同。如果不是，再试一次：走一圈，然后保持正位落地。最终，你就能自信地保持正位落地，并知道你的身体已经准备好发出美妙的歌声了。

Practice finding your alignment when you’re standing still. Then walk a few steps and land in place. Did you land in the same alignment? Look down at your feet to see whether they’re parallel and the same distance as your hipbones. If not, try again: Walk around and then land in alignment. Eventually, you’ll confidently land in alignment and know that your body is ready for some fabulous singing.

你还需要在练习行走时，注意双腿承受的重量和压力。你需要感觉到你的体重均匀地分布在双腿和双脚上，并有浮力感。感觉你的体重下沉到双腿上会让你感觉更重。用力踩踏地板或人行道会让你感觉到双腿承受的压力和张力。当然，你需要把双脚与地面连接起来，但你也需要感受到一种开放的感觉，就像双脚触碰到地面一样。地板会让你的腿部和肌肉张开，而不是收缩和紧张。试着边走边用力踩地板，然后边走边想象你的身体就像弹簧一样，当你的双脚接触地板时，弹簧就会打开。

You also want to practice walking with an awareness of the weight and pressure on your legs. You want to feel the sensation that your weight is evenly distributed on your legs and feet and have a sense of buoyancy. Feeling your weight sink into your legs makes you feel much heavier. Pushing into the floor or pavement causes you to feel pressure and tension in your legs. Of course, you want to connect your feet to the floor, but you want to feel an opening sensation, as if your feet touching the floor causes your legs and muscles to open — not contract and tense. Try walking and pushing into the floor, and then walking and visualizing your body with springs that open when your feet connect with the floor.

轻松练习走路后，你就可以边走边唱歌了。给自己一些时间停下来，观察一下自己的姿势，确保唱歌时保持正确的姿势。你也可以赤脚练习，感受双脚与地面的接触。当你能感觉到呼吸时双脚与地面的接触时，就可以对比一下穿鞋时的感觉。

After practicing walking with ease, you can then practice walking and singing. Allow yourself time to stop and monitor your posture to make sure you’re staying aligned while singing a song. You can also practice without your shoes and feel the connection of your feet to the floor. After you can feel the opening of the feet into the floor when you breathe, you can then compare that sensation with shoes on.

唱歌跳舞也一样。练习本章描述的音准，然后尝试第四章中的一些呼吸练习。当你确信自己掌握了这些技巧后，可以尝试在唱歌和跳舞时结合这些技巧。即使你不会跳舞，也可以在唱歌时在房间里走动，感受紧张的歌声和身体保持平衡的歌声之间的区别。

The same applies for dancing and singing. Practice the alignment described in the chapter and then try out some of the breathing exercises in Chapter 4. When you feel confident that you have those skills solid, try combining those skills while singing and dancing. Even if you aren’t a dancer, move around the room while you’re singing to notice the difference between singing with tension and singing with your body aligned and balanced.

通过姿势展现自信

Projecting confidence through posture

在舞台上展现自信至关重要，因为你想让自己的表演感觉良好，也希望观众在观看你的表演时感到舒适自在。观众通常会对那些表现出恐惧的表演者感到担忧。展现自信意味着找到理想的表演姿势，并在整个表演过程中保持这种姿势。

Projecting confidence onstage is important because you want to feel good about your performance and you want the audience to be comfortable watching you perform. Audiences are usually apprehensive about performers who project fear. Projecting confidence involves finding your ideal posture and maintaining it throughout a performance.

如果你保持着那种姿势和平静的表情，即使忘了歌词，很多人可能也不会注意到。我见过很多次：表演者在台上编歌词，但他看起来棒极了，仿佛是故意唱出来的。通过保持镇定和姿态，表演者向观众传达了一切都很好，并向他们保证不必担心，仿佛在说：“我一会儿再回头念歌词。”表演者也带着良好的感觉离开，因为他坚持了一条基本的歌唱规则：良好的姿势能提升歌唱的效果。

If you maintain that posture and a calm expression even if you forget the words to your song, many people probably won’t even notice. I’ve seen it many times: The performer is onstage making up the words, but he looks as terrific as if he’d intended to sing those words. By maintaining poise and posture, the performer projects to the audience that everything is fine and assures them that they needn’t worry, as if to say, “I’ll get back to the original words in a moment.” The performer also walks away feeling good because he stuck to a basic singing rule: Good posture enhances good singing.

为了探索正确的姿势如何展现自信，假装你是国王或王后。昂首阔步，仿佛你是这里的主人。注意你的姿势。现在假装你真的病了，浑身酸痛。统治者的举动和病人难道不一样吗？国王或王后也可能生病，但在这种情况下不会。国王走路时昂首阔步，举止庄重优雅，在房间里轻盈地走动。病人几乎站立不住，更别说展现自信了。在这种情况下，你是哪一种？你是姿态庄严的国王，还是驼背、与世隔绝？你可能介于两者之间。唱歌时，努力成为国王或王后。

To explore how correct posture exudes confidence, pretend that you’re a king or queen. Strut like you own the place. Notice your posture. Now pretend that you’re really sick and that your whole body aches. Doesn’t a ruler move differently than someone who is ill? It’s possible for a king or queen to be ill, but not in this scenario. A king walks tall, carries himself with great dignity and grace, and glides around the room. A sickly person can barely stand, much less project confidence. In this scenario, which one are you? Are you the king with a dignified posture, or are you stooped and closed off from the world? You’re probably somewhere in the middle. Strive to be the king or queen when you sing.

吸气唱歌

Inhaling to sing

唱歌需要快速吸气——快速吸气——因为管弦乐队不可能等你五分钟才找到气息。了解吸气时身体的感觉有助于你快速吸气，以便唱出下一个乐句。使用以下练习来探索你自己的吸气，并感受吸气和呼气时身体需要如何运动。

Singing songs requires getting a full breath quickly — a quick inhalation — because the orchestra can’t wait five minutes for you to find the air. Knowing how your body feels when you inhale helps you quickly get air in your body so you can sing the next phrase. Use the following exercise to explore your own inhalation and get a feel for how your body needs to move when you inhale and exhale.

假装你见到了某个让你非常高兴的人。你惊讶地吸了一口气，感觉就像空气突然涌入你的身体。你也可以假装有人告诉你一些令人震惊的事情。

Pretend that you see someone you’re really happy to see. The surprise breath that you take feels like the air just rushed into your body. You can also pretend that someone told you something shocking.

你可能刚刚快速吸了一口气。唱歌时，快速地让肺部充满空气才是你想要的呼吸方式。阅读本章，你将学习如何打开身体，让吸气变得安静。

You probably just took a really quick breath. Quickly filling your lungs with air is the way you want to breathe when singing. As you read this chapter, you discover how to open your body so the breath intake is silent.

当你练习呼吸控制时，你可能会发现自己会打哈欠。身体会对吸入的空气量产生困惑，于是你就会打哈欠。我的学生上课时会打哈欠，一开始会感到尴尬。我告诉他们，练习呼吸协调时打哈欠是可以的。

When you’re working on breath control, you may find yourself yawning. The body gets confused with the different amount of air coming in, and you yawn. My students yawn during lessons and are embarrassed at first. I tell them that it’s okay to yawn when working on breath coordination.

呼气唱歌

Exhaling to sing

唱歌需要你控制呼气。你需要持续而流畅的呼气，这样你才能唱出那些高难度的高音和长而慢的乐句。

Singing requires you to control your exhalation. You want to have a sustained and smooth exhalation so you can sing those demanding high notes and long, slow phrases.

要探索呼气，可以尝试以下练习：吸一口气，然后发出“嘘”的声音，就像你试图让吵闹的孩子安静下来一样。再吸一口气，这次尽可能长时间地保持“嘘”的声音。发出“嘘”的声音时，注意呼气时身体的运动。你可能会感觉到腹部或肋骨在移动。在“嘘”（呼气）结束时，你应该感到需要立即再次吸气。

To explore exhalation, try this exercise: Take a breath and say “Shhhh,” as if you’re trying to quiet some noisy children. Take another breath, and this time sustain the “Shhhh” as long as you can. While saying the “Shhhh,” notice what moves in your body as you exhale. You may feel that your abdomen or ribs are moving. At the end of the “Shhhh” (exhalation), you should feel the need to immediately inhale again.

对于刚开始唱歌的人来说，呼吸可能会让人感到困惑，因为你必须同时关注很多事情。一些对唱歌略知一二的人也可能会告诉你另一种唱歌时的呼吸方法。一位朋友可能会说，他们的老师希望他们在唱歌或呼气时，让肌肉——侧腹、肋骨、背部——向外伸展；另一位朋友可能会告诉你，呼气时腹肌必须向内收。你会相信哪一种？两种说法都相信。

Breathing can be confusing for a singer who’s just starting out, because you have to pay attention to so many things at one time. Different people who know something about singing also may tell you about yet another breathing method to use for singing. One friend may say that their teacher wants them to leave the muscles out — sides, ribs, back — and distended as they sing or exhale; another friend may tell you that the abdominal muscles must move in when you exhale. Who do you believe? Both of them.

呼吸方法不止一种，所以你需要探索哪种方法适合你，并了解其中的原因。你可能会遇到一些自称对呼吸了如指掌的人，我希望你熟悉自己的呼吸方式，以便了解有哪些方法可供选择。

More than one method of breathing is useful, so you need to explore what works for you and understand why. You’ll likely encounter someone who claims to know all the answers about breathing, and I want you to be familiar with your own breathing to understand your options.

“内扣”或“外扣”不仅仅指你的肚脐，也指你的呼吸方式。这两种方法都有效；你只需要了解呼吸在你体内是如何运作的。以下是更多关于这两种方法的信息：

Being an “innie” or an “outie” doesn’t refer to just your belly button — it also refers to how you breathe. Both methods are valid; you just need to understand how breath works in your body. Here’s more info about each:

• 内收法注重在呼气时逐渐收紧肋骨和腹部。如果您是第一次尝试呼吸，不妨从这些练习开始。
• The innie method focuses on moving the ribs and abdomen in gradually during exhalation. If you’re exploring breathing for the first time, start with these exercises.

• 外展法要求歌手在呼气时注意保持肋骨或腹部向外。

  对于许多歌手来说，外展法很有帮助，因为初学者很难防止肋骨和腹部在呼气时过快地向内收；想象腹部向外伸展可以帮助他们慢慢地向内收。腹部向内收后，一些歌手会挤压喉咙继续唱歌。你可以尝试一下外展法，看看在呼气时想象身体保持张开是否有助于减缓肋骨和腹部肌肉的运动并延长呼吸。

• The outie method requires the singer to focus on keeping the ribs or abdomen out during exhalation.

  For many singers, the outie method is helpful because beginners have a hard time preventing the ribs and abdomen from moving back in too quickly during exhalation; visualizing the abdomen staying out helps them slowly move back in. After their abdomen moves back in, some singers squeeze their throat to continue singing. You can explore the outie method to see whether imagining your body staying wide during exhalation helps you slow the movement of your ribs and abdominal muscles and extend your breath.

调整呼吸姿势

Posturing yourself for breathing

唱歌时有效的呼吸需要良好的姿势（参见第 3 章）以及熟练的吸气和呼气技巧。（请参阅本章后面的“练习吸气”和“练习呼气”部分。）记住良好姿势的重要性：它能让你深呼吸，充分呼吸。如果你弯腰驼背或身体僵硬，横膈膜就会锁死，阻碍你在唱歌时充分吸气。（更多详情，请参阅附近的侧边栏。）如果呼吸和姿势协调一致，就能提高你的歌唱水平。

Breathing efficiently when you sing is a combination of great posture (see Chapter 3) and skillful inhaling and exhaling. (See the sections, “Practicing Inhalation” and “Practicing Exhalation,” later in this chapter.) Remember the importance of good posture: It allows you to get a deep, full breath. If you slouch or you’re too rigid, your diaphragm locks and prevents you from getting a full breath for singing. (Refer to the nearby sidebar for more insight.) If your breathing and your posture work together as a team, you can improve your singing.

想要唱出最好的歌，你需要养成良好的呼吸姿势。当你的身体姿势正确时，呼吸和运用起来就会更容易。

To sing your best, you want to develop good posture while you breathe. When your body is aligned correctly, taking and using an efficient breath is easier.

双手可以帮助你在呼吸时保持良好的姿势。进行本章中的呼吸练习时，一只手放在胸前，另一只手放在腹肌和身体两侧。吸气时，用手感受胸部是否保持稳定；你希望它在吸气和呼气时都保持在同一位置。（如果吸气时胸部起伏，就会在胸部和颈部产生紧张感。）吸气时，你会感觉到另一只手随着腹肌和身体两侧向外移动，呼气时则向内收拢。

Your own two hands can help you maintain great posture while breathing. As you work through the breathing exercises in this chapter, place one hand on your chest and the other hand on your abs and your sides. As you inhale, use your hand to feel whether your chest stays steady; you want it to stay in the same position for both the inhalation and the exhalation. (If your chest rises during inhalation, you create tension in your chest and neck.) You’ll feel your other hand moving out with your abs and sides as you inhale, and back in toward your body as you exhale.

打开你的身体

Opening your body

快速安静地吸气是唱歌的目标之一。为了快速吸气，你需要打开你的身体——背部、肋骨、侧腹肌和腹肌。你可以同时打开所有这些部位，但在尝试同时激活它们之前，请先分别探索每个部位。

Taking in air quickly and quietly is one of the goals for singing. To get the air in quickly, you want to open your body — your back, ribs, sides, and abs. You can open all these areas at the same time, but explore each area separately before trying to activate them all together.

呼吸缓慢而稳定

Breathing, slow and steady

吸气的目标是快速打开身体，让空气静静地吸入。如果你的肌肉不知道如何快速打开，可以放慢速度进行这项练习，找到打开肌肉的方法。

The goal for inhalation is to open the body quickly so the air drops in quietly. If your muscles don’t know how to open quickly, you can slow down with this exercise and find how to open the muscles.

你小时候妈妈肯定跟你说过不要用吸管吸空气，对吧？因为吸管会发出那种难听的吸吮声，把杯子里的液体全部吸干。现在你需要一根干吸管，里面不能粘着任何奶昔。用吸管呼吸可以帮助你吸入的空气进入体内，让你更容易感觉到身体在呼吸时膨胀。而且用吸管吸气时，你也不会喘气或吸得太快。

When you were a kid, your mom probably told you not to suck air through your straw, right? It makes that horrible slurping noise after all the liquid is drained from your glass. Now you need a dry straw that doesn’t have any leftover milkshake stuck inside. Breathing through a straw helps the air that you breathe drop into your body, making it easy to feel your body expand as you breathe. You also can’t gasp or suck in air too quickly with a straw.

只需按照以下步骤减慢呼吸：

Just follow these steps to slow down your breathing:

1. 找一根吸管并将其剪短至 3 英寸。
2. Find a straw and cut it down to 3 inches.
3. 将吸管的一端插入嘴里。
4. Insert one end of the straw into your mouth.
5. 通过吸管呼吸，确保不要抬起胸部或肩膀，并注意当空气落入肺部时身体如何打开。
6. Breathe through the straw, making sure that you don’t raise your chest or shoulders, and notice how your body opens as the air drops into your lungs.

7. 慢慢吸气三秒，慢慢呼气三秒。

   重复此步骤五次。记住保持身体对齐。第三章提供了一些保持身体对齐的技巧。

8. Inhale for three slow counts and exhale for three slow counts.

   Repeat this step five times. Remember to keep your alignment. Chapter 3 has tips for great alignment.

9. 慢慢吸气四次，慢慢呼气四次。

   吸气时，注意身体的运动。你需要肋骨打开，身体两侧和背部扩张，腹肌放松下垂。如果动作仍然不稳定，请继续练习，直到你真正感受到身体的运动。可能需要几周时间才能充分感受到这种运动，并逐渐熟悉。

10. Inhale for four slow counts and exhale for four slow counts.

    As you inhale, notice what’s moving in your body. You want your ribs to open, your sides and back to expand, and your abs to release and drop. If the motion is still unsteady, keep practicing until you really feel the movement in your body. It may take a couple of weeks to feel the movement enough that it becomes familiar.

快速呼吸

Catching a quick breath

你的歌曲可能包含一个较长的乐句，然后是一段很短的休止符，用来喘口气。难点在于如何在短时间内吸进足够的空气。要了解如何在歌曲中快速吸气，你需要知道如何快速打开肌肉。如果你在前面的练习中缓慢地打开了肌肉，那么你可能已经准备好快速打开它们了。试试这个练习，探索如何快速吸气。

Your song may have a long phrase and then a very short rest to catch a breath. The struggle is to get in enough air in a short time. To understand how to catch a quick breath in your song, you want to know how to quickly open your muscles. If you opened the muscles slowly in the preceding exercise, you may be ready to open them quickly. Try this exercise to explore a catch breath.

通过原地跑步、跳舞或任何其他能让你动起来的动作，让自己稍微喘口气。当你开始呼吸加快并感到气喘吁吁时，站起来唱一段歌。你的身体真的想要吸气。当你终于吸气时，注意气息是如何快速进入体内的。大多数人描述的感觉是身体快速打开以吸入空气。这与吸气或喘气不同。喘气时，你的喉咙收紧，你在吸入或吸入空气。打开身体（包括喉咙）可以帮助你快速而安静地吸气。

Get yourself slightly winded by running in place, dancing around, or doing any other movement that gets you moving. When you start to breathe faster and get winded, stand and sing part of your song. Your body really wants to inhale. When you finally take a breath, notice how the breath drops quickly into your body. Most people describe the sensation of the body opening quickly to get air in. It’s different from pulling in air or gasping. With a gasp, your throat is tight and you’re pulling or sucking in air. Opening the body (including your throat) helps you make a quick and quiet inhalation.

虽然吸气对每个人来说都是自然的，但为了在唱歌时呼吸顺畅，你需要练习有效且理想的吸气姿势。正确的吸气意味着保持身体的正确姿势，身体放松，喉咙打开，肩膀稳定，以便让尽可能多的空气进入你的身体。尝试以下方法来感受错误和正确吸气之间的区别：

Although inhaling may be natural for everyone, you need to practice the efficient and ideal posture to inhale in order to breathe your best while singing. Correct inhalation means keeping yourself properly aligned, with your body free of tension, your throat open, and your shoulders steady to allow the most air to fall into your body. Try the following to feel the difference between incorrect and correct inhalation:

• 如果你喘息，你会感到喉咙发紧，因为你试图在声带闭合的情况下将空气挤入喉咙。然而，如果你假装躲起来，不想让任何人听到你的呼吸，你的喉咙就会保持张开，这样就能吸入大量空气。
• If you gasp, you can feel a tight sensation in your throat as you try to squeeze air in while your vocal cords are closed. However, if you pretend that you’re hiding and don’t want anyone to hear you breathing, you leave your throat open and can take in plenty of air.
• 如果你吸气并有意抬起肩膀或胸部，你会感觉到随着肩膀的抬升，脖子会变得紧张。然而，如果你保持肩膀和胸部稳定并吸气，更多的空气就会进入你的身体。
• If you inhale and intentionally raise your shoulders or chest, you can feel that, as your shoulders rise, your neck gets tense. However, if you keep your shoulders and chest steady and inhale, you get more air into your body.

你可能想在吸气时把舌头往下压。你可能觉得往下压舌头能让你更快地吸气，但其实不然。为了在吸气时释放舌头的压力，可以把舌头向前放松。吸气时，舌头会向前移动，或者说朝向牙齿，而不是向后推或向下压。比较一下这两种方法。吸气时把舌头往下压，然后试着在吸气时把舌头向前放松。你可能会发现，向前放松有助于你快速吸气，并且在开始第一个音符时，舌头已经放松了。

You may be tempted to push down the tongue as you inhale. You may feel like pushing down the tongue helps you get the air in faster, but it doesn’t. To help release any tension in your tongue as you inhale, release the tongue forward. Your tongue then moves forward, or toward your teeth, as you inhale instead of pushing back or pressing down. Compare the two. Push down your tongue as you inhale, and then try releasing your tongue forward as you inhale. You may find that the release forward helps you get the air in quickly and has your tongue released to start the first note.

现在你应该很容易就能有效地吸气了。唱《生日快乐歌》可以测试你正确吸气然后唱歌的能力。在开始唱歌之前，感受一下呼吸进入你的身体。当你进入状态时，就尽情地吸气吧。

Inhaling efficiently should now be fairly easy for you. Singing “Happy Birthday” tests your ability to inhale correctly and then sing a song. Before you start the song, feel the breath moving into your body. When you’re in the groove, go for it.

1. 把“生日快乐”这首歌唱完。
2. Sing all the way through the song “Happy Birthday.”
3. 深吸一口气，再唱一遍第一乐句。
4. Take a deep breath and sing the first phrase again.

5. 暂停。

   在唱第二乐句之前，回想一下你最近学到的关于吸气的知识。慢慢来，找到最有效、最理想的吸气姿势。不必着急。

6. Pause.

   Before you sing the second phrase, remember all that you recently discovered about inhalation. Take your time and find the efficient and ideal posture to take in that inhalation. You don’t have to rush.

7. 平静地吸气。
8. Calmly take the breath back in.
9. 花点时间找到吸气时正确的呼吸动作，然后唱下一个乐句。
10. Take the time to find the correct motion of the breath on the inhalation and then sing the next phrase.

11. 重复这一系列步骤直到完成整首歌曲。

    记住要正确呼吸，而不是急于唱下一个乐句或者大口喘气。

12. Repeat this series of steps until you finish the song.

    Remember to get the breath right instead of rushing to the next phrase or gasping for air.

每次尝试这个练习，你都会觉得更容易。下次唱新歌的时候，不妨试试这个练习，这样可以更好地协调你的呼吸。

Each time you try this exercise, it gets easier. Try it the next time you sing a new song to coordinate your breathing properly.

如果你感觉记不住如何呼吸，你并不孤单。你的身体在练习所有这些知识时会感到困惑，所以只需练习吸气，直到你觉得容易为止；然后再进行其他练习。回过头来重新阅读关于呼吸在身体中如何运作的解释，然后再尝试一些练习。你可能会发现，现在你可以想象并感受到空气的运动，练习起来更容易了。

You’re not alone if you feel like you can’t remember how to breathe. Your body gets confused putting all this information into practice, so just work on the inhalation until it’s easy for you; then move on to another exercise. Go back and reread the explanation about how the breath works in the body, and then try some of the exercises again. You may find that they’re easier now that you can picture the movement of the air as well as feel it.

随风飘荡

Blowing in the wind

这个练习能帮助你培养唱长乐句时所需的控制力。练习的目标是通过呼气而不是将热蜡喷到手上来让蜡烛火焰闪烁！确保你呼出的气流稳定、缓慢——足以弯曲火焰即可。如果你手边没有蜡烛，你可以对着一杯热可可或热茶的顶部吹气，或者直接发挥你的想象力。你可以运用想象力进行这个练习，或者直接点燃一根蜡烛。

This exercise helps you develop the control needed when you sing a long phrase of music. The object of the exercise is to make a candle flame flicker by exhaling and not blasting hot wax onto your hand! Make sure that you exhale with a steady, slow stream of air — just enough to bend the flame. If you don’t have a candle handy, you can blow air across the top of a hot cup of cocoa or tea, or just use your imagination. You can work this exercise with your imagination, or you can actually light a candle.

如果你用的是真蜡烛，一定要小心。蜡烛要放在离嘴至少8英寸（约20厘米）的烛台上，以免烫伤眉毛。

Be careful with the candle if you use a real one. Hold or set down the candle in a holder that’s at least 8 inches from your mouth so you don’t burn your eyebrows.

请按照以下步骤操作：

Follow these steps:

1. 点燃一根蜡烛并将其放在距离脸部 8 英寸的位置。
2. Light a candle and hold it 8 inches from your face.
3. 深呼吸，保持肩膀和胸部稳定。
4. Take a deep breath, keeping your shoulders and your chest nice and steady.
5. 呼气时，轻轻吹动火焰，使其弯曲但不要剧烈闪烁。
6. As you exhale, blow gently on the flame to make it bend but not flicker wildly.
7. 继续稳定的气流使火焰保持弯曲，默默地数数看火焰可以弯曲多长时间。
8. Continue the steady stream of air to keep the flame bent, counting silently to see how long you can bend the flame.

在这个练习中，注意呼气时身体不要快速塌陷。相反，在呼气时，要感受身体的稳定运动。如果你第一次能数到五，下次试着数到六。在尝试数到七之前，先连续数几次，每次都数到六。每次都要确保你注意到身体的变化。

Be careful that your body doesn’t collapse quickly as you exhale during this exercise. Instead, feel a steady movement in your body during the exhalation. If you can bend the flame for the count of five the first time, try to make it to six the next time. Bend the flame for six counts several times in a row before you try for seven. Each time, make sure that you notice what’s happening in your body.

颤音表示呼气

Trilling for exhalation

唇颤音是一种会让人发痒的练习，但它非常适合感受呼气的运动。嘴唇的振动可能会在几分钟后让你的鼻子发痒。没问题——挠挠鼻子继续。什么是唇颤音？你见过马用嘴唇吹气吗？马的嘴唇在微风中拍打。这可能看起来很傻，但这是对你的呼气耐力的一个很好的考验。吸一口气，把气送到你的嘴唇之间，让它们振动。如果你的嘴唇没有像艾德先生的一样振动，那可能是因为它们太紧了。这次放松嘴唇，让它们自然下垂，同时在嘴唇之间吹气。如果你的嘴唇紧绷，就在做唇颤音时将一根手指放在嘴角，轻轻地将嘴角推向鼻子。

A lip trill is an itchy exercise, but it’s great for feeling the movement of the exhalation. The vibrations of your lips may make your nose itch after a few minutes. No problem — scratch your nose and keep going. What’s a lip trill? Ever see a horse blowing air through his lips? The horse’s lips flap in the breeze. This may seem silly, but it’s a great test of your exhaling endurance. Take a breath, and send the breath between your lips and let them vibrate. If your lips don’t vibrate like Mr. Ed’s, it’s probably because they’re too tight. Loosen your lips and just let them hang free as you blow air between them this time. If your lips are tight, place a finger at the corners of your mouth and gently push the corners toward your nose as you do the lip trill.

1. 练习颤动嘴唇。
2. Practice trilling your lips.
3. 当你可以轻松地进行唇颤音时，开始默默地数数。
4. When you have the lip trill moving easily, start counting silently.

5. 保持唇颤音四次；缓慢吸气四次，然后重复该循环。

   开始之前，一定要深呼吸。数到四的时候，注意呼气时身体的运动。呼气时尽量不要让胸部塌陷；让下半身来带动空气。

6. Sustain the lip trill for four counts; inhale slowly for four counts and repeat the cycle.

   Make sure that you take a good breath before you begin. As you count to four, notice what moves in your body as you exhale. Try not to collapse your chest as you exhale; let your lower body do the work to move the air.

7. 再次保持唇颤音四次，但这次吸气两次并重复该循环。
8. Sustain the lip trill for four counts again, but this time, inhale for two counts and repeat the cycle.

9. 随着耐力的提高，唇颤音可以维持更长时间。

   唇颤音六拍，吸气两拍。当你能轻松地连续做几次唇颤音时，就把次数增加两拍（唇颤音八拍）数到50，吸气数到2，以此类推）。练习的目的不是数到50，而是锻炼呼吸的耐力，确保呼气时身体有效地运作。

10. Sustain the lip trill for longer periods of time as your endurance improves.

    Lip trill for six counts and inhale for two counts. When you can easily do the lip trill several times in a row, increase the number by two counts (lip trill for eight counts, inhale for two counts, and so on). The object of the exercise isn’t to count to 50, but to work the endurance of the breath and make sure that the body is working efficiently as you exhale.

11. 随着技能的提高，唇颤音的数量也会随之改变。

    注意一下，两拍颤音和八拍颤音时你的身体变化是怎样的。它会通过在八拍时放慢速度来调整。这种变化在歌曲中很常见——短乐句之后是长乐句，你需要根据乐句调整呼吸控制。

12. As your skill increases, vary the lip trill count.

    Notice how your body changes on a two-count trill compared to an eight-count trill. It adjusts by moving more slowly on the eight counts. This variation happens in songs — you have short phrases followed by long phrases, and you have to adjust your breath control for the phrase.

如果你已经熟练掌握唇颤音，那就加个旋律：用唇颤音哼唱一首歌。你可以轻松地用唇颤音哼唱“生日快乐”。让每个音符衔接起来，中间不要停顿，也不要用舌头抵着牙齿。换句话说，要连贯（流畅连贯）。

When the lip trill is a piece of cake for you, add a tune: Lip trill a song. You can easily lip trill “Happy Birthday.” Let each note connect to the other without a pause and without pushing your tongue against your teeth for each note. In other words, make it legato (smooth and connected).

要练习更多的唇颤音，请查看图 4-1。

To practice more lip trills, check out Figure 4-1.

1. 按照图 4-1中的唇颤音模式唱歌。
2. Sing through the lip trill pattern in Figure 4-1.

3. 再次播放该曲目，这次尝试舌颤音。

   很多人发现，舌颤音能发出好听的声音。舌颤音的原理类似于唇颤音。将舌头放松地含在嘴里，然后在舌头和上颚之间吹气。确保舌头完全放松，否则会失效。当气流经过舌头时，舌尖会抬起并振动，抵住上颚。

4. Play the track again, and this time, try a tongue trill.

   Many people find that they can make good sounds with a tongue trill. The tongue trill works like the lip trill. Leave your tongue loose in your mouth and blow air between your tongue and the roof of your mouth. Make sure that your tongue is released or this won’t work. As the air moves over the tongue, the tip of the tongue raises and vibrates against the roof of your mouth.

5. 第三次播放该曲目，交替进行舌颤音和给定音符的演唱。

   你可以轻松地从舌颤音直接过渡到元音。例如，用舌颤音唱出前两个音符，用“啊”唱出后两个音符。确保从舌颤音到“啊”的过渡流畅。看看你的气流是否保持不变。

6. Play the track for a third time, alternating between doing the tongue trill and singing on the given notes.

   You can easily go right from the tongue trill to a vowel. For example, sing the first two notes on the tongue trill and the last two notes on ah. Make a smooth transition from the tongue trill to the ah. See whether your airflow remains the same.

识别阻力并暂停呼吸

Recognizing resistance and suspending the breath

歌手们常常以为自己可以控制横膈膜的运动，从而很好地控制呼吸。但大多数人不知道的是，横膈膜在呼气时是被动的。当你吸气和肺部扩张充满空气时，横膈膜会向下移动，但呼气时横膈膜不会主动。你通过控制所有影响肺部运动的肌肉来控制呼气——肋骨之间的肌肉（肋间肌）、身体两侧（腹斜肌）和背部的肌肉以及腹肌。了解如何控制这些肌肉的运动可以控制你的呼气，并让你能够唱出长乐句。有关更多信息，请参阅本章前面的“掌握呼吸基础知识”部分。

Singers often think that they can control their diaphragm movement and achieve great breath control. What most people don’t know is that the diaphragm is passive during exhalation. Your diaphragm moves down as you inhale and as your lungs expand to fill with air, but the diaphragm isn’t active when you exhale. You control exhalation by controlling all the muscles that affect the movement of the lungs — the muscles between the ribs (intercostals), the muscles on your sides (obliques) and your back, and your abs. Knowing how to control the movement of these muscles controls your exhalation and allows you to sing long phrases. Refer to the section, “Tackling the Basics of Breathing,” earlier in this chapter for more information.

因为你的身体习惯于吸气时打开，然后快速呼气，所以唱歌时你必须抵抗身体的正常运动。这种抵抗是有益的。你可以把抵抗想象成呼气时身体缓慢收缩的动作，或者是一种友好的抵抗，防止身体塌陷。

Because your body is used to opening for the inhalation and then a quick exhalation, you have to resist the normal movement of your body when you’re singing. This resistance is a good thing. Think of resistance as a slow movement of the body back in for exhalation, or a friendly resistance to keep the body from collapsing.

探索呼气和阻力的一种方法是暂停呼吸。如果你身体的正常运动是吸气然后逐渐呼气，或者让身体回到静止位置，我希望你尝试一下吸气，然后等待再呼气。感觉就像你的身体悬空了：你准备好呼气了，但肌肉还没有动。这种悬空的感觉就是我所说的阻力。

One way to explore exhalation and resistance is to suspend the breath. If the normal movement of your body is to take a breath and gradually exhale, or allow the body to move back to its resting position, I want you to explore taking a breath and then waiting before you exhale. It feels like your body is suspended in motion: You’re ready to exhale, but the muscles just aren’t moving yet. This feeling of suspension is what I mean by resistance.

你的身体想要闭合，但你还不允许它崩溃。抵抗并非紧张，更像是犹豫。注意你吸气时身体保持打开的感觉，然后等待。你可以练习暂停三到四秒，然后逐渐呼气。目标不是弄清楚如何长时间暂停，而是理解身体在吸气后抵抗正常闭合冲动的感觉。

Your body wants to close, but you aren’t allowing it to collapse just yet. Resistance doesn’t involve tension; it’s more like hesitation. Notice the feeling of your body staying open as you take the breath and then wait. You can practice suspending for three or four counts and then gradually exhale. The goal isn’t to figure out how to suspend for long periods of time, but to understand the sensation of the body resisting the normal urge to close after an inhalation.

尝试以下顺序来提高暂停呼气肌肉的能力：

Try this sequence to develop your ability to suspend the muscles of exhalation:

1. 吸气三次。
2. Breathe in for three counts.

3. 因三项罪名被停赛。

   当你暂停的时候，注意你身体的感觉。你的身体想要闭合，但你选择暂停并保持开放。

4. Suspend for three counts.

   As you suspend, pay attention to the sensations in your body. Your body wants to close, but you make the choice to suspend and stay open.

5. 呼气三次。
6. Exhale for three counts.

7. 逐渐增加呼气次数。

   吸气三秒，暂停三秒，呼气四秒。注意你的身体如何适应较慢的呼气速度。

8. Gradually move the exhalation number higher.

   Inhale for three counts, suspend for three counts, and exhale for four counts. Notice how your body adjusts to the slower exhalation.

你可以一次呼气，也可以十次呼气，身体会调整肌肉的运动。今天，我建议你尝试每个步骤三次呼气。明天你可以将呼气次数增加到四次，后天可以增加到五次。慢慢探索这个练习，以增强对肌肉的控制力。动作太快，你无法体验到随着呼气时间延长，身体的调整感。本章的下一节将有更多练习，探索更长的呼气时间。

You can exhale in one count or in ten counts, and the body adjusts the movement of the muscles. For today, I recommend that you try the sequence with three counts for each step. Tomorrow you can move the exhalation up to four counts, and the next day move the exhalation to five counts. Explore this exercise slowly to develop control over the muscles. Moving too quickly doesn’t allow you to explore the sensations of adjustment in your body as the exhalation gets longer. The next section in the chapter has more exercises that explore longer exhalation.

放松腹肌，然后放松肋骨

Releasing abs and then ribs

由于肺部位于肋骨内，因此吸气时让肋骨打开，呼气时保持打开状态对肺部有益。这也被称为向外呼吸，或appoggio（意大利语，意为“支撑”或“倾斜”）。不要强迫肋骨保持打开状态，而是让它们保持打开状态。“强迫”和“允许”这两个词虽然看起来很相似，但它们是不同的。强迫肋骨保持打开状态会给身体带来压力，并发出紧绷的声音。

Because your lungs are housed within your rib cage, allowing the ribs to open as you inhale and letting them stay open as you exhale is beneficial. This is also known as outie breathing, or appoggio (that’s Italian for “support” or “lean”). Don’t force your ribs to stay open, but allow them to stay open. Even if the words force and allow seem similar, they’re different. Forcing the ribs to stay open results in pressure being put on your body and a tight sound.

当您练习呼吸一段时间后，您可以轻松地进行快速、有效的吸气，并可以控制较长的呼气，然后尝试下面的练习。

When you’ve been working with breath for some time and you can easily manage quick, efficient inhalation and have some control over longer exhalation, try the exercise that follows.

1. 练习弯曲张开肋骨。

   站在镜子前，试着打开你的肋骨。你需要打开身体侧面的肋骨，而不是抬起胸部。观察身体的动作，确保你没有抬起胸部。你可能需要尝试几次才能弄清楚如何打开肋骨。当你知道如何移动它们时，吸气时让肋骨打开。你想要移动的区域位于肋骨的底部。

2. Practice flexing open your ribs.

   Stand in front of the mirror and try to open your rib cage. You want to open your ribs on the side of your body, not raise your chest. Watch the movement in your body to make sure that you’re not lifting your chest. It may take a few tries before you can figure out how to open the ribs. When you know how to move them, allow the ribs to open as you inhale. The area that you’re trying to move is at the bottom of the rib cage.

3. 吸气并打开肋骨。

   练习吸气，让肋骨打开。如果将空气对准最下方的肋骨，就能打开肋骨，而无需强迫胸部抬起。

4. Inhale and open your ribs.

   Practice inhaling and allow your ribs to open. If you aim the air at the lowest rib, you can open the ribs without forcing your chest to rise.

5. 练习一段时间，让肋骨在吸气时打开，在呼气时闭合。

   当这变得更容易时，让肋骨在呼气时保持更长时间的打开。

6. Work for a time just allowing your ribs to open when you inhale and to close as you exhale.

   As this becomes easier, allow the ribs to stay open longer on the exhalation.

7. 吸气并让肋骨打开。

   呼气时保持肋骨打开。下次吸气时，让腹部肌肉扩张。

8. Inhale and allow your ribs to open.

   Leave the ribs open as you exhale. Take the next breath and allow your abdominal muscles to expand.

9. 现在你的肋骨已经打开，腹部肌肉已经扩张，呼气。

   呼气时，让腹肌向内移动，肋骨向外伸展。

10. Now that your ribs are open and your abdominal muscles are expanded, exhale.

    As you exhale, allow the abs to move in as the ribs stay out.

11. 当你呼吸结束时，让肋骨逐渐闭合或塌陷回到正常位置。
12. As you reach the end of your breath, allow the ribs to gradually close or collapse back to their normal position.

这项练习的长期目标是让你能够根据所唱乐句的长度，选择在吸气时打开或关闭肋骨。如果我必须唱长乐句，我会保持肋骨打开。这个动作可能需要一个月或更长时间才能掌握。继续尝试吧。

The long-term goal of this exercise is to provide you with the option of opening the ribs as you inhale and letting them close by choice, depending on the length of the phrase you’re singing. I keep my ribs open if I have to sing a long phrase. This motion may take a month or more to master. Keep trying.

慢慢地唱

Singing slowly

在本章前面，我推荐一些简单的曲子，比如《生日快乐》，这样你就能轻松地同时集中注意力于许多细节。然而，你或许已经准备好尝试一首难度更高的歌曲了。想想哪首歌在处理长乐句方面让你感到困难。它可以是一首赞美诗，也可以是一首你熟悉的旋律，而你就是无法完全掌握其中的乐句。一些熟悉的长乐句歌曲包括《丹尼男孩》；《弥赛亚》中的《来到他面前》 ；以及《飞越彩虹》。

Earlier in this chapter, I suggest simple tunes, such as “Happy Birthday,” so that you can easily concentrate on many details at one time. However, you may be ready to try a tougher song. Think of a song that gives you trouble when it comes to managing the long phrases. It can be a hymn or familiar tune in which you just can’t quite conquer the phrases. Some familiar tunes with long phrases are “Danny Boy”; “Come Unto Him” from The Messiah; and “Over the Rainbow.”

唱一遍歌，复习一下歌词和旋律。准备好后，放慢速度唱一遍。唱得慢一点，呼气的时间就会延长。放慢速度意味着你需要学会延长呼吸的时间。唱节奏快、乐句短的歌不需要长时间呼气，也不需要你在唱长乐句时控制呼气。

Sing through the song to refresh your memory of the words and the tune. When you’re ready, sing through the song at a slow pace. You want to sing more slowly so you extend your exhalation. By singing more slowly, you have to figure out how to extend your breath over a longer period of time. Singing faster songs with short phrases doesn’t require a long exhalation, and it doesn’t require that you control your exhalation over long phrases.

练习下面的练习以进入下一级别的呼吸控制，以便您可以在较长的乐句中轻松控制呼吸。

Practice the exercise that follows to move on to the next level of breath control so that you can manage your breath easily during longer phrases.

1. 慢慢地唱这首歌。

   如果你选择的歌曲较长，就唱一部分。如果你选择的歌曲较短，就从头到尾唱一遍。

2. Sing the song slowly.

   If you’ve chosen a long song, sing through part of it. If you’ve chosen a shorter song, sing it all the way through.

3. 唱完每个乐句时，要保持一致的呼气，以形成流畅、连贯的旋律。

   确保在每个乐句开始前缓慢吸气。

4. Sing through each phrase with a consistent exhalation for a smooth, connected line.

   Make sure that you inhale slowly before the beginning of each phrase.

5. 慢慢地再唱一遍这首歌，但要快速吸气，同时吸入与缓慢吸气时相同量的空气。
6. Sing through the song again slowly, but inhale quickly, while taking in the same amount of air that you did when you were inhaling slowly.

在进行这项练习时唱歌时，注意不要喘气；打开喉咙，让空气进来。喘气会阻止你足够快地吸入空气。

Be careful not to gasp when you’re singing through this exercise; open your throat and allow the air to come in. Gasping prevents you from getting the air in quick enough.

呼气时，肋骨和腹肌必须用内收法收紧。然后尝试让腹肌运动，肋骨保持打开，也就是外收法。

In exhaling, your ribs and abs must be moving in using the innie method. Then try letting the abs move while the ribs stay open, the outie method.

体重快速增加或减少会让你的身体完全不知所措。如果你的身体习惯于移动一定重量的物体，这会影响你的呼吸。你必须慢慢适应体重变化后体型的变化，尤其是在你体重增加之后。减肥时，要慢慢来，让你的身体慢慢适应。

Gaining weight or losing weight quickly can totally confuse your body. If your body is used to moving a certain amount of weight around, it affects your breathing. You have to slowly get used to your body being a different size after the weight change, especially if you’ve gained weight. Take your time when you lose weight to allow your body to slowly adjust.

创造独特的音色

Creating unique tone

很多人张开嘴就能唱歌，发出美妙的音色。而另一些人则需要付出努力才能创造出美妙的音色。你的嗓音是独一无二的，但如果你的嗓音紧绷绷的，你可能需要做本书中的练习来帮助你创造出完美的嗓音。你还需要确保你的嗓音与你演唱的音乐风格相匹配。如果你听过歌剧演员尝试演唱流行音乐，你就会知道他们的声音听起来很滑稽——他们的嗓音太饱满、太丰富，而实际上应该更随意一些。请参阅第二章，了解更多关于不同嗓音类型在不同音乐风格中发出的声音的信息；阅读第七章，了解更多关于如何打造洪亮歌唱嗓音以及理解不同音乐风格之间共鸣差异的信息。

A lot of people just open their mouth to sing and produce wonderful-sounding tone. Others have to work to create beautiful tone. The tone of your voice is unique to you, but if it’s tight and pressed, you may need to work on the exercises in this book to help you create great tone. You also want to make sure that the tone of your voice matches the style of music you’re singing. If you’ve ever heard opera singers try to sing pop music, you know that they sound funny — their tone is too full and rich when it needs to be more casual. Check out Chapter 2 for more information on the sounds different voice types make in different styles of music, and read Chapter 7 for more information about creating a resonant singing voice and understanding the differences in resonance among various styles of music.

识别影响音色的因素

Identifying factors that affect tone

你的体型、大小以及身体协调性在一定程度上决定了你的语气。此外，你的语气会随着你的情绪或情感而变化。请查看以下列表，了解影响语气的因素：

The shape and size of your body and your body coordination partly determine your tone. In addition, your tone changes with your moods or emotions. Check out the following list for factors that affect tone:

• 身体协调：协调身体肌肉对于创造优美的歌唱音色至关重要。这种协调包括呼吸协调、音准调整和发音。您可以在第4章中阅读关于呼吸协调的内容，在第3章中阅读关于发音色整的内容。第8章概述了元音的发音，第9章介绍了辅音的发音。阅读本书的其他章节，让您的整个身体做好准备，帮助您发出美妙的声音。
• Body coordination: Coordinating the muscles in the body is important for creating lovely tone for singing. That coordination includes breath coordination, alignment, and articulation. You can read about breath coordination in Chapter 4 and alignment in Chapter 3. Chapter 8 outlines articulation of vowels, and Chapter 9 covers articulation of consonants. Check out the other chapters in the book so your entire body is ready to help you make great sounds.
• 情绪：你的情绪会直接影响你的语调。你可以通过语调判断一个人是高兴还是悲伤。表演时，你需要融入自己的情绪，这样你的语调才能反映出你正在讲述的故事。当然，也有可能过度投入，让情绪占据上风。如果情绪过于激动，你最终会哭出来，唱不出来。或者，你可能会因为愤怒而紧张，唱不好歌。运用情绪是好的，但让情绪占据上风就不好了。练习书中的练习来提升你的技巧。当你的技巧扎实时，即使在歌曲中情绪较为激烈的部分，你也能保持良好的技巧。
• Emotions: Your emotions directly affect the tone of voice. You know when someone is happy or sad by the tone of voice. When you’re acting, you want to tap into your emotions so that the tone of your voice reflects the story you’re telling. Of course, it’s also possible to go overboard and let the emotions overtake you. If you go too far emotionally, you end up crying and won’t be able to sing your song. Or maybe you’ll be so angry that you tense up and can’t sing well. Using your emotions is good, but allowing emotions to overtake you isn’t good. Work on the exercises in the book to develop your technique. When your technical skill is solid, you’ll be able to maintain your technique even during the more emotional sections of your song.
• 头部和喉咙的形状和大小：如果你的嘴巴和喉咙较小，你的声带就较短，嗓音类型可能偏高。嘴巴和头部较大的歌手往往声带较长，能发出更饱满的声音。
• Shape and size of your head and throat: If your mouth and throat are small, you have smaller vocal cords and probably a higher voice type. Singers with large mouths and heads tend to have longer vocal cords and can make fuller sounds.
• 体型：胸围丰满圆润的歌手往往拥有较大的肺活量，能够唱出高音。不过，唱歌并不一定非要身材魁梧——优秀的歌手有各种各样的体型。
• Size of your body: Singers with a big, round chest tend to have a large lung capacity for nailing those high notes. You don’t need to have a big body to sing well, though — good singers come in all shapes and sizes.
• 空间：你为音色共振而打开的空间大小，是决定你嗓音音色的关键因素。如果空间紧凑，音色就紧凑。如果空间开放，音色就有空间共振。你可以在本章后面的“展现你的歌唱肌肉”部分阅读更多关于如何打开口腔和喉咙空间的内容。
• Space: The amount of space you open for tone to resonate is a key element in the tone of your voice. If the space is tight, the tone is tight. If the space is open, the tone has room to resonate. You can read more in the section, “Flexing Your Singing Muscles,” later in the chapter about opening the space in the mouth and throat.
• 张力：即使远离歌声的身体部位也需要没有张力，以保持声音的音色自由。
• Tension: Even body parts far from your singing voice need to be free of tension to keep the tone of the voice free.

考虑音色、音高和音符

Considering tone, pitches, and notes

无论你只是自娱自乐地唱歌，还是梦想着成为职业歌手，你都会经常遇到三个术语：音高、音符和音色。这三个术语经常被错误地混用，但了解它们之间的真正关系，或许能让你在歌唱的道路上更加轻松自在。

Whether you sing just for fun or you dream of performing professionally, you can count on frequently encountering three terms: pitch, note, and tone. These three terms are often incorrectly used interchangeably, but understanding their true relationship to one another may make your journey through the world of singing less confusing.

• 音高是指声音的高低频率。唱歌时，声带会以一定的速度振动，从而产生音高。例如，雾号发出的声音频率或音高较低，而烟雾探测器按下测试按钮时发出的声音频率或音高较高。唱歌时，声带振动速度较快时，音高会比振动速度较慢时更高。中央C上方的A音每秒振动440次——声带每秒张开和闭合440次。
• Pitch is the high or low frequency of a sound. When you sing, you create pitch because your vocal cords vibrate at a certain speed. As an example, a foghorn emits a low frequency or pitch, whereas the sound your smoke detector emits when you press the test button is a high frequency or pitch. In singing, when your vocal cords vibrate at a faster speed, you sing a higher pitch than when they vibrate more slowly. The A just above Middle C vibrates at 440 cycles per second — your vocal cords open and close 440 times per second.
• 音符是表示音色位置的音乐符号。
• Notes are musical symbols that indicate the location of a pitch.
• 音色是指音高的音色。音色可以用许多不同的词语来描述，包括温暖、低沉、明亮、清脆、浑厚、华丽、尖锐和刺耳。例如，卡伦·卡朋特就是一位音色温暖的歌手；而艾迪·墨菲在《怪物史莱克》电影中扮演的驴子就是一位音色刺耳的歌手。
• Tone is the timbre of pitch. Tone can be described by many different words, including warm, dark, brilliant, ringing, rich, lush, shrill, and strident. An example of a singer with a warm tone is Karen Carpenter; someone with a strident tone is Eddie Murphy playing the role of the Donkey in the Shrek movies.

根据这些定义，说某人“音高盲”比“音色盲”更合理。你可能还会听到歌手说他们害怕唱高音，而实际上他们应该说“害怕唱高音”。虽然了解这些术语的确切定义是件好事，但如果你混淆了“音色”和“音高”，我怀疑没人会纠正你。

Based on these definitions, it makes more sense to say that someone is pitch deaf rather than tone deaf. You may also hear singers say that they’re afraid to sing high notes when they should say that they’re afraid to sing high pitches. Although knowing the exact definition of these terms is good, I doubt that anyone will correct you if you mix up the words tone and pitch.

发现自己的乐队

Discovering your own bands

你身体的许多不同部位都会影响你的歌唱，但了解它们如何协同工作以产生最佳声音是唱出好歌的关键。第三章和第四章专门探讨了呼吸和姿势等重要的解剖学影响，但了解那些被称为声带的细小组织带（用于唱歌的肌肉）的位置以及它们如何发出音色也同样重要。在培养良好的发声技巧时，你需要了解你的呼吸、姿势和张力如何影响声带的运作。

Many different parts of your body influence how you sing, but understanding how they all work together to produce the best sound is the key to great singing. Chapters 3 and 4 are devoted to the big anatomical influences, such as breathing and posture, but knowing where those tiny little bands of tissue called vocal cords — your muscles for singing — are located and how they make tone is just as important. When developing good vocal technique, you need to understand how your breath, posture, and tension affect the way your vocal cords work.

你的声带位于喉部（发音为larinks，而不是larnicks）内，它是你歌唱声音的来源。声带是两条横跨喉部的细小组织带，通过振动产生音色。

Your vocal cords are inside your larynx (pronounced lar-inks, not lar-nicks), which is the source of your singing voice. Your vocal cords are two small bands of tissue stretching across your larynx that vibrate to create pitch.

你的声带与你的呼吸协调，随着空气（你的呼吸）通过而张开和闭合（振动），从而发出一个音色。每次振动称为一个振动周期或声门周期。如果你唱的是管弦乐队演奏的用于调音的音符，你的声带就会以每秒440次的频率振动——没错，就是这么快。为了发出如此快速的振动，你需要保持呼吸顺畅；否则，你的空气就会耗尽，无法维持音色。（请参阅第四章，了解改善呼吸的技巧。）

Your vocal cords coordinate with your breath to release a pitch by opening and closing (vibrating) as air (your breath) passes through. Each vibration is called a cycle of vibration or glottal cycle. If you’re singing the same note that an orchestra plays to tune the instruments, your vocal cords are vibrating at 440 cycles per second — yes, that fast. To make those fast vibrations, you need to keep your breath flowing; otherwise, you run out of air and won’t be able to sustain the pitch. (See Chapter 4 to discover techniques for improving your breathing.)

发出第一声

Making the first sound

你已经可以发出歌唱的声音了——只是你可能没有意识到而已。按照以下步骤练习这些声音，可以帮助你踏上歌唱之路。练习这些声音可以帮助你发现如何发出轻松自如的声音，从而探索你的整个歌唱音域。

You already can make singing sounds — you just may not realize it. Working through the sounds in the following steps can start you on the road to singing. Making these sounds helps you discover how to make tension-free sounds that explore your entire singing range.

发出以下声音：

Make the following sounds:

1. 尝试叹气——一声深沉而悠长的叹息。

   叹息是当你感受到漩涡的温暖，或有人按摩肩膀时身体放松时发出的声音。叹息时，尽量延长声音。从高处开始，逐渐降低。

2. Try sighing — a nice, long sigh.

   A sigh is that sound you make as you feel the warmth of the whirlpool or the relaxation of your body as someone massages your shoulders. As you sigh, make the sound as long as possible. Start higher and gradually slide lower.

3. 模仿警笛声。

   上下滑动或绕圈几圈，探索高低音。警笛声中的音色与你在本书练习中唱出的音色相同。

4. Imitate a siren.

   Slide up and down or around in circles a few times, exploring high and low pitches. Those pitches in the siren are the same pitches you sing in the exercises in this book.

5. 高兴得欢呼起来。

   探索最初声音的另一种方法是运用你的想象力。假设有人刚刚告诉你中了彩票。与其尖叫，不如试着欢呼雀跃。

6. Whoop with joy.

   Another way to explore the first sounds is to use your imagination. Pretend that someone just told you that you won the lottery. Rather than screaming, try whooping with joy.

惊掉下巴

Dropping the jaw

唱歌时，你的下巴必须比日常对话时下垂得更大，嘴巴和喉咙也必须张得更大。如果你下巴不下垂，嘴巴不张开，声音就会被困在你的嘴里，无法传到第一排观众的耳朵里。

When you sing, you have to drop your jaw much farther than you do in everyday conversation and you have to open your mouth and throat much wider. If you don’t drop your jaw and open your mouth, the sound gets trapped inside your mouth and can’t make it past the first row of the audience.

你的颈部和下颌需要放松，并做好活动准备。如果没有，请查看本章后面“检查颈部或下颌是否紧张”部分中的练习，以释放颈部和下颌的紧张。

Your neck and jaw need to be free of tension and ready to move. If they aren’t, check out the exercise in the section, “Checking for neck or jaw tension,” later in this chapter to release tension from your neck and jaw.

为了正确地打开喉咙和嘴巴来唱歌，你需要先感受一下周围。用手指放在下巴上，沿着下颌线一直延伸到耳朵。在下颌后部，你可以感觉到耳朵下方有一条曲线。我希望你在下颌下垂时关注这个区域。不要试图下垂下巴，而是从耳朵正下方开始下垂。后部的空间为音色提供了共鸣的空间。

To properly open the throat and mouth for singing, you need to feel around a bit first. Place your finger on your chin and trace your jaw line back to your ear. At the back of the jaw, you can feel a curve under your ear. This is the area that I want you to focus on when you drop your jaw. Instead of trying to drop your chin, I want you to drop it from the area right underneath your ear. The back space gives the tone room to resonate.

练习下颌下垂，学习如何打开口腔后部的空间（称为后腔）以及喉咙的空间；仅仅下巴下垂并不能打开后腔。练习下颌下垂的步骤如下：

Practice dropping the jaw to discover how to open the space in the back of the mouth — called the back space — and space in the throat; dropping just the chin doesn’t open the back space. To practice dropping the jaw, follow these steps:

1. 按摩脸部周围的所有肌肉，确保它们没有紧张并准备好张开。
2. Massage all the muscles around your face to make sure that they’re free of tension and ready to open.

3. 尝试同时打哈欠和放下下巴。

   记住，你要把下巴放下来，而不是仅仅把下巴往下移。你的下巴确实会移动，但你要打开耳朵后面的空间（后部空间），而不仅仅是前面的空间（前部空间）。

4. Try yawning and dropping your jaw at the same time.

   Remember, you want to drop the jaw, not just move the chin down. Your chin does move, but you want to open the space in the back by your ear (back space), not just the front (front space).

5. 用嘴和喉咙打哈欠，但不要张开嘴唇。

   要做到这一点，假设你在一个无聊的晚宴上，你不想让女主人看到你打哈欠。当你开始打哈欠时，你会感觉到口腔和喉咙里有一种张开的感觉。打哈欠开始时，你能感觉到肌肉在伸展和张开。打哈欠结束时，肌肉会因为巨大的拉伸而变得紧绷。你需要记住打哈欠的开始，也就是肌肉张开的时候，而不是打哈欠结束时的紧张阶段。

6. Yawn inside your mouth and throat without opening your lips.

   To do this, pretend that you’re at a boring dinner party and you don’t want the hostess to see you yawning. You feel an opening sensation inside your mouth and throat when you’re starting to yawn. At the beginning of the yawn, you can feel the muscles stretching and opening. By the end of the yawn, the muscles are tight from the huge stretch. You want to remember the beginning of the yawn, when the muscles are opening, not the tense phase at the end of the yawn.

在球场上滑行

Sliding up and down on pitch

在音高上上下滑动，你有机会听到来自外部音源（例如钢琴）的音高，然后唱出该音高或滑动音色，直到匹配为止。远离正确音符滑动，可以让你听到自己的声音与错误音符碰撞的振动，然后匹配正确的音符。

Sliding up and down on pitch gives you the chance to hear a pitch from an external source, such as a piano, and then sing that pitch or slide around until you match it. Sliding away from the right note allows you to hear the vibrations of your voice clashing with the wrong note and then match the right note.

通过练习，你可以匹配任何音色，但要从音域的中间部分开始，然后逐步提高。

With practice, you can match any pitch, but start in the middle part of your range and work your way up.

1. 用任意乐器演奏一个音符。
2. Play a note on any instrument.
3. 弹奏完音符后，用你的身体去感受它——在真正唱出这个音符之前，想象自己正在唱出这个音符。
4. After you play the note, feel it in your body — visualize yourself singing the note before you actually sing it.

5. 再次弹奏该音符并唱出来。

   如果音色不匹配，请上下滑动直到匹配为止。

   你可以一直弹奏音符，直到匹配为止。你怎么知道匹配成功了？你会听到你的声音和音符的振动听起来很相似。声音会融合在一起。

6. Play the note again and sing it.

   If you didn’t match the pitch, slide up and down until you match it.

   You can keep playing the note until you match it. How do you know when you’ve matched it? You’ll hear that the vibrations of your voice and the vibrations of the note sound similar. The sounds will blend together.

7. 弹奏不同的音符。
8. Play a different note.
9. 在唱歌之前，先在脑海中想象并听到音符。
10. Visualize it and hear the note in your head before you sing it.

11. 现在唱出这个音符。

    如果再次错过，请上下滑动直到匹配音色。

12. Now sing the note.

    If you miss again, slide up and down until you match the pitch.

如果你练习了一段时间后唱出了正确的音符，那就太好了。再弹奏一次这个音符。这次，有意地滑到音符上方或上方，然后再滑回原位，再次匹配音符。下次，试着滑到音符下方，然后再滑回原位，匹配音符。这个练习可以训练你的耳朵，让你能够听到声音和乐器的共振。

If you sang the correct note after some practice, good for you. Play the note again. This time, intentionally slide above the note or higher than the note, and then slide back down and match it again. The next time, try sliding below the pitch and then back up to match it. This exercise trains your ear to hear the matching vibrations of your voice and the instrument.

你也可以请别人唱一个音符，然后把它拉出来。听对方唱一会儿，然后试着跟上他的音高。确保音色不要太高；跟上你发音范围内的音高比跟上你发音范围内的音高更容易。当你的舞伴唱歌时，试着左右滑动，直到跟上他的音高。如果你仍然不确定，可以让他们告诉你什么时候唱对了。这种伙伴系统对你很有帮助，因为你的伙伴可以充当你的音高监控员。在探索音高的过程中，找一个同性别的伙伴：通常情况下，跟同性别的人跟上音高更容易。

You can also ask someone to sing a note and hold it out. Listen to the person sing the note for a moment, and then try to match the pitch. Make sure that the note isn’t too high; matching pitches that are close to your speaking range is easier than matching pitches that are outside your speaking range. As your partner sings, try sliding around until you match their pitch. If you still aren’t sure, ask them to tell you when you get it right. This buddy system is beneficial for you because your buddy can be the pitch monitor. As you explore pitch, find a buddy of the same gender: It’s usually easier to match the pitch with someone who’s the same gender.

在第三轨上，聆听钢琴弹奏的音符，然后聆听歌手在音高上下滑动的声音。这项练习能帮助你理解我所说的“声音的振动与正确的音高相匹配”的含义。当歌手的音色过高或过低时，你可以听到声音的碰撞；而当歌手的音色与音高匹配时，你也能听到类似的振动。

On Track 3, listen to the note played on the piano and then listen to the singer sliding above and below the pitch. This exercise helps you understand what I mean about the vibrations of your voice matching the correct pitch. You can hear the clashing of the sounds when the singer is too high or too low, and you can hear the similar vibrations when the singer matches the pitch.

培养肌肉记忆

Developing muscle memory

对有些人来说，听到音色和唱出音色之间缺乏联系。然而，培养所谓的肌肉记忆可以弥补这一差距。肌肉记忆是指你的身体记住如何完成一项任务——比如骑自行车或打字。在唱歌时，你的声音会记住唱某个音符或练习曲的感觉，这样你下次唱这个音符时就能回想起那种感觉。练习以下练习，你就能培养对音色的肌肉记忆。

For some folks, a link is missing between hearing the pitch and singing it. Developing what’s called muscle memory can bridge the gap, however. Muscle memory refers to your body remembering how to do a task — like riding a bike or typing. In singing, your voice remembers how it felt to sing a certain note or exercise so that you can recall that feeling the next time you sing the note. Practice the following exercise so you can develop muscle memory for matching pitch.

1. 找一个安静的地方，花几分钟时间在脑海里聆听你最喜欢的曲子。
2. Find a quiet place and take a few moments to listen to your favorite tune in your head.

3. 花一点时间，尝试用你的身体去感受音色。

   这是什么意思？如果我让你想象自己说话，你会感受到或想象到身体里的感觉。当你在为晚宴排练那个有趣的笑话，或者在大型颁奖晚宴上练习获奖感言时，你会在脑海中听到自己说话的声音。现在，我想让你感受一下唱出你脑海中听到的旋律的感觉。

4. Take a moment and try to feel the pitch in your body.

   What does that mean? If I asked you to imagine yourself speaking, you’d feel or imagine the sensation in your body. You hear the sound of your speaking voice in your head when you’re rehearsing that funny joke for the dinner party or practicing your acceptance speech for the big awards banquet. Now I want you to feel the sensation of singing the tune that you hear in your head.

5. 想象自己唱出前几行的音符，以处理大脑发送到声带的信息。
6. Visualize yourself singing the notes in the first few lines to process the message that your brain sends to your vocal cords.

7. 唱几句曲调。

   你唱得对吗？如果你唱出了大部分音符，但还是有一些音符没唱准，那就放慢速度。在脑中听到音色和唱出来之间留出更多时间。你甚至可以唱一首不像你最喜欢的曲子那么复杂的童谣。

8. Sing a few lines of the tune.

   Were you close? If you sang most of the notes on target but missed a few, go more slowly. Take more time between hearing the pitch in your head and singing it. You can even sing a nursery rhyme that isn’t as complicated as your favorite tune.

录制自己的歌曲并跟着唱

Recording yourself and singing along

另一种学习音准的方法是录制自己跟着另一张唱片一起唱歌。这个练习能让你有机会比较自己唱出的音符和录音中歌手唱出的音符。听录音中的自己唱歌和听现场演唱是不同的。这样你可以更客观地听出自己唱的和原版录音中的不同之处。

Another way of discovering how to match pitch is to record yourself singing along with another recording. This exercise gives you a chance to compare the notes you sing with the notes that the singer on the recording sings. Listening to yourself singing on a recording is different from listening to yourself singing live. You can be more objective and hear the difference between what you sang and what was on the original recording.

1. 选择您最喜欢的歌曲，然后选择录音设备和播放歌曲的设备。

   使用您拥有的任何设备进行录音，但使用数字录音机（例如计算机或智能手机上的录音机应用程序）录音可以提供更好的质量。

2. Choose your favorite song and select a recording device and a device to play the song.

   Record with any device you have, but recording with a digital recorder such as your computer or the voice recorder app on your smartphone offers a better quality.

3. 开始录音的同时开始播放歌曲。
4. Start playing the song at the same time you begin recording.

5. 将竖笛放在嘴边并跟着歌曲一起唱。

   至少唱一半的歌曲。

6. Hold the recorder near your mouth and sing along with the song.

   Sing at least half the song.

7. 停止歌曲和录音。
8. Stop the song and the recording.

9. 勇敢地播放录音。

   你唱的音准接近了吗？你唱对了大部分音符了吗？现在只唱错高音是可以的。你可以在第11章和第12章中阅读更多关于唱高音的内容。

   如果您错过了大部分音符，请返回并复习前两个练习（来自“在音色上上下滑动”和“发展肌肉记忆”部分）。

10. Be brave and play the recording.

    Were you close to matching the pitches? Did you hit most of the notes? Missing only the high notes is fine for now. You can read more about singing higher notes in Chapters 11 and 12.

    If you missed most of the notes, go back and review the previous two exercises (from the sections “Sliding up and down on pitch” and “Developing muscle memory”).

不喜欢录音里的声音很正常。别放弃！你会习惯听到自己录制的声音的。拿你的声音和艺术家的录音作比较是不公平的，因为艺术家可能花了数千美元聘请录音师来消除任何细微的瑕疵。

Not liking what you hear on the recording is normal. Don’t give up yet! You’ll get used to hearing your voice recorded. Comparing your sound to the artist’s recording isn’t fair, because the artist probably spent thousands of dollars for a sound engineer to edit out any minor imperfections.

检查颈部或下颌的紧张程度

Checking for neck or jaw tension

放松下巴，灵活舌头很重要。下巴越紧，声音就越紧；舌头越紧，歌声就越难被听懂。

Having a loose jaw and flexible tongue is important. The tighter your jaw, the tighter the sound — and the tighter your tongue, the more difficult it is to make your song understood.

唱歌时，注意颈部和下巴的后部，这样你就能监测自己的下巴和舌头是否灵活。请遵循以下步骤：

Become aware of the back of your neck and jaw as you sing so that you can monitor whether you have a flexible jaw and tongue. Follow these steps:

1. 当你进入对齐状态时，请注意你脖子后面的感觉。
2. As you step into alignment, notice what you feel in the back of your neck.

3. 按摩颈后部以释放压力。

   随着紧张感逐渐消散，你会发现自己可以轻松地转动头部，颈后部也不再感到紧张。感受头部在脊柱上保持平衡，并漂浮在肩膀上方。

4. Massage the back of your neck to release any tension.

   As the tension melts away, notice how easy it is to move your head without tension in the back of your neck. Feel your head balanced on your spine and floating above your shoulders.

5. 当你的颈部感觉没有压力时，注意你的下巴在做什么。

   大多数人甚至没有意识到，他们的下巴都咬得很紧。日常压力会导致牙齿咬紧、下巴紧绷。

6. When your neck feels tension-free, notice what your jaw is doing.

   Without even realizing it, most people clamp down on their jaw. Everyday stress can lead to clenched teeth and clamped jaws.

7. 为了缓解下巴痉挛的感觉，让下巴放松，就像睡着了一样。

   您很可能见过有人打鼾时下巴大张，任由虫子飞进来。让自己探索一下下巴的这种放松和张开的感觉。

8. To relieve a cramped feeling in your jaw, let your jaw hang loose as if you were asleep.

   More than likely you’ve seen people snoring with their jaw hanging wide open for any old bug to fly right in. Allow yourself to explore this feeling of release and openness in your jaw.

9. 当你感受到流畅的动作时，尝试唱几句歌。

   结合正确的姿势和呼吸，保持喉咙和口腔的开放，并流畅地运动下颌和颈部。呼！虽然有很多事情要考虑，但你一定可以做到。

10. When you feel the fluid motion, try singing a few lines of a song.

    Combine correct posture and breathing and open space in the throat and mouth with fluid motion of the jaw and neck. Whew! That’s plenty to think about, but you can do it.

舌头和下巴的弹动

Bouncing the tongue and jaw

为了发出美妙的声音，唱歌时舌头需要像身体其他部位一样放松。舌头是一块巨大的肌肉，如果它紧张或后部蜷缩，就会阻碍或挤压音色，使声音听起来紧绷。你的舌头应该像地毯一样平放在嘴里，除了发辅音和元音时需要拱起舌头。（你（第 8 章有唱元音的练习，第 9 章有唱辅音的练习。）

To create great sound, your tongue needs to be just as released as the rest of your body while you sing. The tongue is a huge muscle, and if it’s tense or bunched up in the back, it blocks or squeezes the tone, making it sound tight. Your tongue should just lie like a rug — relatively flat — in your mouth except when you’re making consonant and vowel sounds that require you to arch your tongue. (You can find exercises for singing vowels in Chapter 8 and consonant exercises in Chapter 9.)

分离舌头和下颌的运动非常重要，因为你无需用力下压舌头来移动下颌，也无需在舌头移动时移动下颌。舌头和下颌是同一支队伍，但它们不必同时发挥作用。你可以采取以下措施，确保舌头得到释放并独立运作：

Isolating the movement of the tongue and jaw is important because you don’t have to press your tongue down to move your jaw or move your jaw when your tongue moves. The tongue and jaw are members of the same team, but they don’t have to play at the same time. You can do the following to make sure that your tongue is released and working on its own:

1. 不要移动下巴，说“Yuk”。

   说 y 时，你可以移动舌头的后部。

2. Without moving your jaw, say “Yuk.”

   Saying the y allows you to move the back of your tongue.

3. 再次，不要移动下巴，说“ Yah-yah-yah-yah-yah ”。

   你注意到你的舌头是怎么动的吗？你可能需要照照镜子，或者用手托住下巴，看看它有没有动。

4. Again, without moving your jaw, say “Yah-yah-yah-yah-yah.”

   Did you notice how your tongue was bouncing? You may need to look in the mirror or hold your hands on your jaw to notice if it moves.

5. 再次弹动你的舌头，然后让它在你的嘴里休息。

   注意舌头在嘴里休息时的感觉。它没有绷紧，也没有上下推动。它只是平躺在嘴里。

6. Bounce your tongue again and then let it rest in your mouth.

   Notice what the tongue feels like when it’s resting in your mouth. It’s not tense or pushing up or down. It’s just lying in your mouth.

7. 晃动下巴并说“呀呀” 。

   多说几遍“ Yah-yah ”，发声时下巴上下摆动。注意发完音节后下巴是如何静止的。你的下巴要像舌头一样放松，随时准备活动——但不要紧张。

8. Bounce your jaw and say “Yah-yah.”

   Say “Yah-yah” several times, and let your jaw bounce or move up and down as you say it. Notice how it rests in place after you say the syllables. You want your jaw, like your tongue, to hang loose, ready to move at any moment — but not tense.

使用图 5-1中的音乐模式来练习以下练习（不要忘记进入你的排列并呼吸）：

Use the musical pattern in Figure 5-1 to practice the following exercise (don’t forget to step into your alignment and breathe):

1. 在每个音符上唱“Y a h”，感受舌头的运动。

   现在，不要动你的下巴。只用你的舌头唱出“Y a h”。

2. Sing “Yah” on each note to feel the movement of your tongue.

   For now, don’t move your jaw. Just use your tongue to sing the “Yah.”

3. 在你探索了那种感觉之后，再次唱出这个模式，但唱“ ah ”时将舌头放在嘴里。

   注意当你唱出a h 元音时你的舌头是如何放松的。

4. After you explore that sensation, sing the pattern again, but sing an “ah” with your tongue resting in your mouth.

   Notice how released your tongue can be when you sing the ah vowel.

5. 再次唱出这个节奏，并晃动下巴唱“Y a h-y a h”。

   唱歌时让下巴动起来。这样你仍然可以唱歌。

6. Sing the pattern again, and bounce your jaw and sing “Yah-yah.”

   Allow the jaw to move as you sing. You’ll still be able to sing.

7. 使用a h 元音再次唱出该旋律，并保持下巴静止。

   请注意，下巴是松垂的并且是张开的。

8. Sing the pattern again, using the ah vowel, and let your jaw be still.

   Notice that the jaw is hanging loosely and is open.

在图 5-1的音乐示例中，请注意音符下方音节的划分方式。y a h-y a h 在每个音符下方都有标注，但a h 的右侧有一条线。这条线表示你唱的是“ a h”，并且要在整个音型中保持这个音。你不必为每个音符都重复唱a h 元音。拿出一些乐谱，看看一些熟悉的单词的音节是如何划分的。理解这个过程可以帮助你掌握一首新歌，因为你可以猜出哪个音符和哪个音节属于一起。

In the musical example in Figure 5-1, notice how the syllables are divided underneath the note. The yah-yah is written underneath every note, but the ah has a line moving off to the right. That line indicates that you sing “ah” and hold it out for the length of the pattern. You don’t have to re-sing the ah vowel for each note. Get out some music to see how the syllables are divided for some familiar words. Understanding this process helps you master a new song because you can guess which note and which syllable belong together.

开始发声

Starting the tone

声调起始是指唱歌时开始发出一个音色。声调起始有两种方式：用力或用气。唱歌时需要用一些体力，但这种用力来自为协调呼吸肌肉而移动的能量。当喉咙里的肌肉挤压在一起而空气流动很少时，就会导致体力过强。通过以一致的呼吸流量和张开的喉咙起始音，你可以创造出质量更好的音色。用气起始音与产生唇颤音（见第 4 章）或舌颤音的原理相同。当你开始发唇颤音时，空气从你的嘴唇之间经过，吸力将嘴唇拉近，嘴唇在微风中飘动。当你通过协调一致的气流起始音时，你的声带也会做同样的事情。

Onset of tone refers to starting a tone for singing. You can start a tone in two ways: with physical force or with air. You have to use some physical exertion to sing, but the exertion comes from energy moving to coordinate the muscles for breathing. Too much physical force results when the muscles in the throat press together with very little air flowing. By starting the tone with a consistent breath flow and an open throat, you create a tone that has a better quality. Starting the tone with air applies the same idea as producing the lip trill (see Chapter 4) or tongue trill. When you start the lip trill, the air passes between your lips, suction pulls them together, and they flap in the breeze. Your vocal cords do the same when you start the tone by coordinating a consistent flow of air.

哼唱是发出声调的最简单方法，即闭上嘴唇唱歌或发声。把哼唱想象成一个延长的M。试一试。如果不确定自己的声调是否清晰，可以闭上嘴说“Uh-huh”——这是您在看报纸时有人问您问题时发出的声音。再说一次“Uh-huh”来听和感受清晰度，然后用同样的感觉哼唱一段歌曲。“Uh-huh”发出的清晰度与您用来探索气音的耳语不同。您可以感受到气音和​​清晰音之间振动的差异。清晰音会在您的喉咙、嘴巴和鼻腔中产生更强烈的振动。您可能会在这三个位置感到振动，或者振动可能会根据您唱歌或说话的高低而有所不同。记住这种感觉，以便您每次唱歌时都能清晰地发出声调。

The easiest way to start the tone, humming, involves singing or making a tone with your lips closed. Think of humming as a prolonged M. Try it. If you aren’t sure whether your tone was clear, say, “Uh-huh,” with your mouth closed — the sound you make when you’re reading the newspaper and someone asks you a question. Say “Uh-huh” again to hear and feel the clarity, and then use that same feeling to hum part of a song. The clarity of tone from your “Uh-huh” is different from the whisper you use to explore breathy tone. You can feel the difference in vibrations between a breathy tone and a clear tone. The clear tone creates stronger vibrations in your throat, mouth, and nasal passages. You may feel vibrations in all three locations, or the vibrations may vary depending on how high or low you’re singing or speaking. Remember this feeling so that you can start the tone clearly each time you sing it.

开始唱歌时，不要依赖声音。每个房间的声音可能不同，所以你应该依靠感觉，这种感觉应该在不同房间、每天的演唱中保持一致。请参阅第7章关于共鸣的内容，了解如何投射声音以及声音在不同房间中如何变化。

When you start a tone, don’t rely on the sound. The sound may be different in each room, so you want to rely instead on the feeling, which should be more consistent from room to room and day to day in your singing. See Chapter 7 on resonance for information about projecting sound and how it may vary in different rooms.

创造后部空间

Creating back space

在计算机出现之前，人们常用“后退”来指将打字机的笔架向后移动一个格子。在唱歌中，“后退”指的是口腔后部和喉咙里的空间。仅仅张开牙齿或嘴巴前部（前部空间）虽然能展现你洁白的牙齿，但这对音色的塑造并不够。没错，你确实需要张开牙齿来创造足够的后退空间，但更大的开口必须在口腔后部和喉咙里。为了使空间和气息协调一致，你需要快速打开空间，然后呼气。（更多关于呼吸的信息，请参阅第四章。）

In the days before computers, people often used the phrase back space to refer to moving the carriage of a typewriter back one space. In singing, back space refers to the space in the back of your mouth and in your throat. Just opening your teeth or the front of your mouth (front space) shows off your gorgeous pearly whites, but it doesn’t do enough for your tone. Yes, you do have to open your teeth to create enough back space, but the big opening has to be in the back of your mouth and your throat. For space and breath to work together, you need to open the space quickly and then move the breath. (See Chapter 4 for more information about breathing.)

为了创造良好音色所需的开放空间，可以假装口腔后部有一个鸡蛋。如果你不喜欢鸡蛋，也可以用其他形象，比如高尔夫球。对比一下舌头后部封闭时和鸡蛋放在舌头后部时的感觉。练习快速打开这个空间。让舌头放松，而不是向下压。

To create the open space necessary for great tone, pretend that you have an egg in the back of your mouth. You can use other images, such as a golf ball, if you don’t like eggs. Compare the feeling of the space when it’s closed and when you have the egg sitting on the back of your tongue. Practice opening that space quickly. Allow your tongue to release down, not press down.

试着唱一段你最喜欢的歌曲。找到口腔后部想象的鸡蛋的开放度，然后开始张开喉咙和口腔后部唱歌。记住要找到和你哼歌时一样清晰的声音。你可以先闭合喉咙和口腔后部唱歌，然后再打开喉咙和口腔后部唱歌，比较一下音色的变化。如果你不确定声音的区别，可以录下来听一听。

Try singing part of your favorite song. Find the openness from the imaginary egg in the back of your mouth, and begin singing with the throat and the back of your mouth open. Remember to find the same clarity that you had when you were humming. You can compare the tone change by first singing with the throat and back of the mouth closed and then singing with the space open. If you aren’t sure about the difference in the sound, record yourself and listen.

最初几次打开口腔后部空间时，共鸣可能听起来很“呼呼”，就好像声音就在口腔后部一样。在学习协调空间的同时，让音色保持“呼呼”的状态。最终，你将能够打开口腔后部空间，将声音向前发出。

The first few times you open the space in the back of your mouth, the resonance may sound hooty, as if the sound is in the back of your mouth. Allow the tone to be hooty while you learn to coordinate the space. Eventually, you will be able to open the space and send the sound forward.

用音色协调空气

Coordinating air with tone

当你的空间开阔时，你需要协调呼吸和音色来唱歌。你希望空气的流动与音色的出现同时发生。

When you have the space open, you want to coordinate breath with tone to sing. You want the movement of the air to happen at the same time the tone starts.

尝试以下三种协调呼吸和音色的方法：

Try these three ways of coordinating breath and tone:

• 吹口哨：吹口哨时，你需要在嘴唇之间移动一些空气来发出声音。这种呼吸的协调类似于唱歌。你可以吹一段曲子，或者对着一个有魅力的人吹口哨。注意你的身体是如何移动的。吹口哨时，你离不开空气，而且空气的流动和声音的产生是同时发生的。
• Whistle: Whistling requires that you move some air between your lips as you make tone. This coordination of breath is similar to singing. Whistle a tune or whistle at an attractive person. Notice how your body moves. You can’t whistle without using air, and the air movement and start of the tone happen simultaneously.
• 笑：笑声主要在于将气息与音色的起始连接起来。花几分钟时间感受一下那种放声大笑的感觉。随着笑声的延长，让声音的音色变化，时高时低。注意你笑的时候身体的运动。很可能，你的身体运动和我在第四章中描述的完全一样。这意味着你的下腹肌（腹肌的简称）会内收，而你的身体两侧会在你呼气发出声音时向外伸展。
• Laugh: Laughter is mostly about connecting air with the start of the tone. Take a few minutes to explore that feeling of boisterous laughter. Let the sound vary in pitch and change to higher and lower pitches as you extend the laughter. Notice the movement in your body as you laugh. More than likely, your body moves exactly as I describe in Chapter 4. That means your lower abs (that’s short for abdominal muscles) move in, and your sides move out as you exhale to make the sound.
• 玩耍：假设你在操场上，正玩着秋千或旋转木马。孩子们经常会在快速移动时发出“Weeeeeeeee！”的欢呼声。“Weeeeeeeee”的音色可以先高，然后逐渐降低，或者你也可以延长音色不变。注意，这个呼喊要清晰，并且在保持音色的同时，你的呼吸也在移动。
• Play: Pretend that you’re on the playground, having a blast on the swing or the merry-go-round. Kids often exclaim “Weeeeeeeee!” when they’re delighted by moving fast. The “Weeeeeeeee” may start on a high pitch and gradually slide down, or you might extend the sound without changing pitch. Notice that this exclamation is clear and that you’re moving breath as you sustain the sound.

探索完这三个建议后，试着唱一首歌的一部分，注意每个乐句开头音符时的气流。你应该让气流在整个唱歌过程中保持持续的流动，并且让歌声中的空间保持开放。

After you explore these three suggestions, try singing part of a song to notice the flow of your air as you start the beginning tone of each phrase. You want the air to be moving consistently the entire time you sing, and you want the open space to remain open as you sing.

叹息，走向清晰

Sighing your way to clarity

某些风格的音乐对音色的清晰度要求不高，但你还是应该主动选择用气息唱出清晰的音色，而不是在真正想唱的时候却不知如何唱清楚。叹息可以帮助你专注于找到这种清晰的音色。它让你能够轻松地发出声音，而不必担心音色是否准确，而在本练习中你无需为此操心。

Certain styles of music don’t require clarity in the tone, but you want to be singing a breathy tone by choice instead of having no idea how to sing clearly when you really want to. Sighing helps you focus on finding this clarity of tone. It allows you to make sounds without worrying about singing precise pitches, which you needn’t bother with for this exercise.

以舒适的音高开始叹息，并在音高下滑时保持叹息的声音。叹息也可以被称为警笛声。叹息或警笛声就像在三层楼上上下下地移动。如果你的叹息清晰，继续探索并提高音高。如果你的音色不清晰，试着发出更有活力的叹息。为叹息增添更多能量意味着将你的身体与叹息联系起来。通过在叹息时移动来让你的整个身体参与到叹息中。以某种方式移动你的身体（倾斜、弯曲、伸展），让你感觉你的整个身体都在涌动和叹息。在唱歌时运用这种能量也帮助你找到清晰的音色。你的呼吸在完成特定的身体动作时流动，这有助于音色的形成。让清晰的音色充满房间比让模糊的音色充满房间更容易。没有麦克风，你需要清晰的音色才能在唱歌时被听到。

Start a sigh at a comfortable pitch, and maintain the sound of a sigh as you slide down pitches. The sigh can also be called a siren. Sigh or siren as if the sound moves up and down a three-story building. If your sigh is clear, continue your exploration and move to higher pitches. If your tone isn’t clear, try to make a more-energetic sigh. Adding more energy to the sigh means connecting your body to the sigh. Engage your entire body in sighing by moving as you sigh. Move your body in such a way (leaning, bending, stretching) that you feel as if your entire body is surging and sighing. Using this exertion of energy when you sing also helps you find clarity in your tone. Your breath is flowing to complete a specific physical movement, which helps with the onset of tone. Filling a room with a clear tone is easier than filling it with a fuzzy tone. Without a microphone, you need a clear tone to be heard when you sing.

年轻歌手的音色常常带有气息，这是由于缺乏协调造成的。为了发出清晰的音色，你需要使用正确的技巧，并且不要施加压力。这样做需要先准备好呼吸，然后像我刚才描述的那样，施加能量。如果你的音色带有气息，请练习呼吸技巧（参见第四章），以便更好地理解身体的这种运动。当你掌握了呼吸技巧后，就可以专注于音色的产生。随着年龄的增长，你的音色也可能会发生变化，这是正常的。只要记住良好技巧的感觉，并不断练习，让它成为你身体的习惯即可。

Younger singers often have a breathy tone, caused by lack of coordination. To create a clear tone, you need to use correct technique without adding pressure. Doing so involves getting the breath ready and then adding the energy that I just described. If you have a breathy tone, work on your breathing skills (see Chapter 4) to better understand that movement in your body. When you’ve polished your breathing skills, focus on tone production. Your tone may also continue to change as you mature, which is normal. Just remember what good technique feels like and keep working to make it a habit in your body.

如果你不确定自己的音色是否清晰，可以录下练习过程，模仿玛丽莲·梦露演唱《总统先生，生日快乐》时那种漫不经心的语调；然后模仿歌剧演员，找到清晰的音色。关键在于找到自己的音色，并知道什么时候清晰的音色合适。如果你想要那种风格和声音，可以使用气息声调。诺拉·琼斯的气息声调很浓，但她是一个用麦克风演唱流行和爵士乐的人，她故意使用了这种音色。

If you aren’t sure whether your tone is clear, record your practice session and imitate Marilyn Monroe’s unfocused tone when she sang “Happy Birthday, Mr. President”; then imitate an opera singer to find clear tones. The point is to find out what your tone sounds like and know when a clear tone is appropriate. You can use a breathy tone if you want that style and sound. Norah Jones has a breathy tone, but she’s an example of someone singing pop and jazz music with a microphone, using that tone on purpose.

吸气释放音色

Inhaling to release tone

练习释放音色的一个简单方法是吸气。唱出一个ah元音，当你准备停止这个音色时，只需吸气即可。最初几次尝试时，可能会感觉很奇怪。你可能会认为自己做得不对，因为这太简单了。练习连续唱几次ah并释放：啊，吸气，啊，吸气，啊，吸气。这个练习能让你感觉到唱歌就是呼气，释放音色就是吸气，并且呼吸始终在运动，无论是吸气还是呼气。记住，当你吸气时，你要放松喉咙的肌肉。如果你保持肌肉紧张，你就会喘气，因为空气正试图通过一个狭窄的空间。

An easy way to practice releasing tone is to inhale. Sing an ah vowel and, when you’re ready to stop the tone, simply inhale. The first few times you try this, it may feel funny. You may think that you haven’t done it right, because it was too easy. Practice singing the ah and releasing several times in a row: ah, inhale, ah, inhale, ah, inhale. This exercise allows you to feel that singing is exhaling, releasing a tone is inhaling, and the breath is always in motion, whether going in or out. Remember that when you inhale, you want to release the muscles in your throat. If you keep the muscles tight, you gasp, because the air is trying to pass through a tight space.

放开你的喉咙

Letting your throat go

在你学会吸气释放音色之后，试着放松喉咙，放松喉咙里的所有肌肉。你可能还有足够的空气继续唱歌，但如果你唱完了一首歌或唱完一个乐句，就必须释放音色。想象一下，通过放松喉咙里的所有肌肉来停止音色。你最终可能会吸气，但你不必担心这个动作，因为你的身体已经处理好了。作为一名年轻的歌手，我害怕唱高音，因为我不知道如何在不卡住辅音的情况下停止高音。把释放想象成从音色升空或从辅音升空，不要担心停止音色。

After you explore inhaling to release the tone, try letting your throat go and releasing all the muscles in your throat. You may still have enough air to keep singing, but you have to release the tone if you’re at the end of the song or the end of a phrase. Just think of releasing in your throat by letting go of all the muscles to stop the tone. You may end up inhaling, but you don’t have to worry about that action, because your body took care of it. As a young singer, I was afraid to sing higher pitches because I didn’t know how to stop them without choking on the consonant. Think of the release as a liftoff from the tone or a liftoff from the consonant, and don’t worry about stopping the tone.

用连奏连接点

Connecting the dots with legato

专业歌手能够轻松唱出那些优美的音色，是因为他们知道如何连接歌曲中的各个音高。歌手有时会逐个音高地演唱旋律，而不会考虑连续的旋律线或乐句。为了使乐句连贯（流畅连贯），需要将音高之间想象成没有空隙。声音需要从一个音高流畅地过渡到另一个音高，即使在音高变化时，喉咙中的感觉也必须是连续的。唱出一长串音色是可能的，因为呼吸控制很重要。如果您还没有阅读第四章关于呼吸控制的内容，请立即阅读，以便在尝试唱连奏旋律时运用这些技巧。

Those gorgeous tones that professionals sing so effortlessly happen because they know how to connect the pitches of a song. Singers sometimes sing a melody one pitch at a time, not thinking of a continuous line or phrase. To make the phrases legato (smooth and connected), think of the pitches as having no empty space in between. The sound needs to flow from one pitch to the other, and the feeling in the throat must be a continuous sound even while you change pitches. Singing a long line of tone is possible because of breath control. If you haven’t read Chapter 4 on breath control, do so now so that you can apply those skills as you attempt to sing legato lines.

唱出图 6-1中的节奏型时，注意使声音连贯，并注意音高之间的连接。找到你的节奏，练习几次呼吸，打开后腔，然后开始。吸气时，让吸气肌肉打开，唱歌时，逐渐收回。

While singing the pattern in Figure 6-1, focus on making the sound legato and concentrate on the connection between pitches. Find your alignment, practice the breath a few times, open the back space, and begin. Allow your muscles of inhalation to open as you inhale and steadily move back in as you sing.

嘴唇或舌头颤动

Trilling the lips or tongue

唇颤音是我在第 4 章中解释的一种练习。这一次，你要让嘴唇在更长、更慢的音乐模式中真正颤动。唇颤音的目的是监控气流——没有气流，你就无法继续唇颤音。通过延长这个模式，你就有机会更长时间地维持这个音色。如果唇颤音对你来说太过分，可以随意使用舌颤音。原理是一样的：颤动舌头，但保持一致的气流。对于这个模式，你需要监控你颤音时身体的动作——逐渐移动。回顾第 4 章中的练习，了解如何管理呼气。

The lip trill is an exercise that I explain in Chapter 4. This time, you’re going to really let those lips trill on a longer, slower musical pattern. The purpose of the lip trill is to monitor the flow of air — you can’t continue the lip trill without the air flowing. By making the pattern longer, you get an opportunity to sustain the tone longer. If that lip trill is just too much for you, feel free to use a tongue trill. The principle is the same: trilling the tongue but maintaining a consistent flow of air. For this pattern, you want to monitor how your body moves as you trill — gradually moving. Review the exercises in Chapter 4 for tips on how to manage exhalation.

唱图6-2中的节奏型时，注意保持连奏线条。找到你的身体位置，准备好呼吸，然后开始。

Focus on creating a legato line as you sing the pattern in Figure 6-2. Find your alignment, prepare your breath, and begin.

控制呼吸

Working your breath control

图 6-3中的节奏型让你有机会尽情歌唱，并全力以赴。我没有加快练习速度，而是放慢速度，使其更具挑战性，所以你真的需要练习呼吸。仔细思考所有可以运用的技巧（保持良好的姿势，打开喉咙和嘴巴的空间，以及让呼吸进入身体），这样当你唱这个节奏型时，你就能把所有技巧都运用到位。

The pattern in Figure 6-3 gives you the chance to sing and put all your eggs in the basket. Instead of playing the exercise faster, I slow it down to make it harder, so you really have to work the breath. Think through all the skills that you can apply (using great posture, opening the space in your throat and mouth, and getting breath in your body) so you’re ready to put it all together when you sing this pattern.

图 6-3中的节奏型演奏缓慢，以便你延长呼吸并唱出长长的连奏线。每次重复之间都有时间调整呼吸。记住要找到身体的正位，打开后背空间，每次让气息在体内下沉，并在整个节奏型中保持胸部稳定。如果你在这个节奏型上遇到困难，可以复习第四章末尾的呼吸控制练习。

The pattern in Figure 6-3 is played slowly to allow you to lengthen your breath and sing long legato lines. You have time between each repetition to get your breath. Remember to find your alignment, open the back space, allow the breath to drop in your body each time, and keep your chest steady throughout the pattern. You can review the exercises on breath control at the end of Chapter 4 if you have trouble with this pattern.

从直音到颤音

Moving from straight tone to vibrato

唱歌时，你可以选择发出音高变化的音色（颤音）或不变的音色（直音）。直音唱法绝对没有错，只要你愿意。你的合唱团指挥可能要求你在演唱某些风格的音乐时唱直音（更多信息，请参阅附近的侧边栏“不同风格的颤音”）。许多人唱直音是因为他们的颈部或喉咙过于紧张。你不必收缩喉咙来发出直音——事实上，恰恰相反。无论是否颤音，你都需要保持喉咙张开。

When you sing, you can choose to create tone that has variation in pitch (vibrato) or not (straight tone). Absolutely nothing is wrong with straight tone singing, as long as that’s your choice. Your choir director may have asked you to sing straight tones when performing some styles of music (see the nearby sidebar, “Vibrato in different styles,” for more info). Many people sing with straight tones because they have too much tension in their neck or throat. You don’t have to squeeze in your throat to create straight tone — actually, just the opposite is true. You need to keep the throat open for a tone with or without vibrato.

在曲目 8 上，听歌手演示带颤音和不带颤音的音色之间的区别，歌手从直音过渡到颤音，再从颤音过渡到直音。然后你尝试一下。唱一个带颤音的音色，然后唱一个不带颤音的音色。现在尝试从不带颤音的音色开始，然后过渡到带颤音的音色。当颤音开始时，你会感到有什么东西释放了，颤音的运动也开始了。这不是什么大区别；它很微妙。连续尝试几次，感受一下区别。如果你仍然不确定你发出的声音是哪种，试着发出呜咽声，这通常是直音发出的。当你用呜咽声唱完一首歌的一部分时，听听你发出的声音，然后放开嗓子，认真地唱出来。

On Track 8, listen to the singer demonstrate the difference between a tone with and without vibrato, as the singer moves from straight tone to vibrato and from vibrato to straight tone. Then you try it. Sing a tone that has vibrato, and then sing a tone that has no vibrato. Now try starting the tone without vibrato and sliding into a tone with vibrato. As the vibrato begins, you feel something release and the movement of the vibrato begin. It’s not a huge difference; it’s subtle. Try this several times in a row to feel the difference. If you still aren’t sure which sound you’re making, try whining, which is usually made with a straight tone. Listen to the sound when you whine your way through part of a song, and then open up and really sing.

模仿其他歌手的颤音

Imitating another singer’s vibrato

呼吸协调性好、空间开阔的歌手通常有颤音。想象一下一位歌手（可能是你听过的歌剧或古典音乐歌手），他唱歌时会发出巨大的声音。现在，模仿这位歌手。

Singers who have good coordination of breath and open space usually have vibrato. Think of a singer (probably someone you’ve heard singing opera or classical music) who makes a huge sound when singing. Now imitate that singer.

找一个安静的地方，让你能发出足够多的声音。在脑海中聆听歌手的声音，然后模仿他。如果有帮助的话，可以张开双臂，拿着毛巾，或者站在椅子上，这样你就能感觉自己变得无比强大。模仿技巧娴熟的人不会损害你的嗓子。你可能会发现自己也能发出一些相当洪亮的声音。

Find a quiet place where you can make plenty of sound. Hear the singer’s voice in your mind and then imitate that singer. If it helps, open your arms wide, hold a towel, or stand on a chair, so you feel enormous. Imitating someone with good technique doesn’t hurt your voice. You may discover that you can make some pretty big sounds yourself.

如果你模仿一位歌手的颤音，你或许也能学会如何模仿那种颤音。当你模仿时，继续探索那种声音，并留意自己的声音听起来是什么样的。你甚至可以录下自己的声音，只是为了证明你也发出过如此美妙的声音。

If you imitate a singer with vibrato, you can probably figure out how to imitate that vibrato, too. When you do, continue to explore that sound and notice what your voice sounds like. You can even record yourself, just to prove that you made that much glorious sound.

如果你找不到不同的声音，那就模仿其他歌手。这次选择一位传奇歌剧演员。装出一副华丽的样子，假装你因为这位明星生病而被叫去唱歌。假装唱几首这位歌手的歌——甚至编一下歌词。

If you didn’t find a different sound, imitate a different singer. This time choose a larger-than-life opera singer. Be flamboyant and pretend that you’ve been called in to sing because the star is ill. Fake it and sing some of this singer’s songs — even make up the words.

颤音演唱的关键在于让声音自然地发出，不要勉强。探索不同类型的声音，并利用空间和呼吸来找到颤音。

The key to singing with vibrato is to make the sound happen naturally — don’t force it. Explore different kinds of sounds, and work with space and breath to find vibrato.

你可能想通过弹动腹部或喉部来产生颤音——但千万别这么做。弹动腹部或喉部并不能持续产生颤音；与其强迫颤音，不如像你在第4章的练习中那样，让气流持续流动，从而自然产生颤音。尽情发挥，享受颤音吧！

You may be tempted to create vibrato by bouncing your abdomen or your larynx — but don’t. Bouncing your abs or larynx doesn’t consistently produce vibrato; instead of forcing it, let the vibrato happen because you keep air consistently flowing, as you did in the exercises in Chapter 4. Ham it up and enjoy vibrato!

识别不同音乐风格中的共鸣

Identifying resonance in different styles of music

继续阅读，了解您最喜欢的音乐风格的惯例：

Keep reading to find out what’s customary in your favorite style of music:

• 合唱音乐：如果你是合唱歌手，你需要共鸣，这样当你独唱时才能被听到。当你被要求与其他歌手融合时，共鸣就少一些。
• Choral music: If you’re a choral singer, you need resonance so you can be heard when you sing a solo. Use less resonance when you’re asked to blend with other singers.
• 古典音乐：古典音乐，尤其是歌剧，需要非常饱满的共鸣音。古典歌手在演唱歌剧时，会尽可能地产生共鸣，让声音充满音乐厅。为了产生这些洪亮的共鸣音，你需要真正打开喉咙和口腔后部的空间，为声音创造一个共鸣的空间。良好的呼吸协调以及精确的元音形状和发音可以进一步增强共鸣。（参见第8章关于元音的内容和第4章关于呼吸的内容。）对于早期古典音乐，你需要的共鸣音要略低于普契尼、威尔第或施特劳斯后期歌剧的要求。
• Classical music: Very full resonant tone is desirable in classical music, especially operas. Classical singers try to generate as much resonance as possible to fill the large concert halls when they sing opera. To generate these large resonant tones, you need to really open the space in your throat and the back of your mouth to create a space for the sound to resonate in. Good breath coordination and precise shapes and sounds of vowels further enhance the resonance. (See Chapter 8 on vowels and Chapter 4 on breathing.) For early classical music, you want resonant tone that’s slightly less than what’s required for the later operas of Puccini, Verdi, or Strauss.
• 乡村音乐：乡村音乐如今与流行音乐非常相似。乡村歌手非常擅长讲述故事，他们创作的歌曲通常非常接近于人声。他们运用共鸣，就像说话一样——向前推进，语气流畅。早期的乡村歌手大量使用鼻音——类似于说话声音的前移鼻音共鸣。
• Country music: Country music is currently very similar to pop music. Country singers are great storytellers and they often write songs that are very close to speech. They use resonance as they would in speaking — forward and chatty. Early country singers used a lot of twang — forward nasal resonance similar to their speaking voice.
• 爵士乐：爵士歌手几乎总是使用麦克风，并与乐器一起演唱。使用麦克风时，你无需费力地产生共鸣，将声音传到俱乐部的后排。你需要知道如何创造清晰的音色（参见第5章和第6章关于音色的内容），并产生足够的共鸣，以便麦克风能够拾取你的声音。
• Jazz: Jazz singers almost always use a microphone and sing with instruments. When you use a microphone, you don’t have to work so hard to generate resonance to carry your voice to the back of the club. You need to know how to create clear tone (see Chapters 5 and 6 about tone) and create enough resonance that the microphone picks up your voice.
• 音乐剧：这种演唱风格需要营造共鸣，但不像古典演唱那样需要那么多。音乐剧歌手在演出中经常佩戴麦克风，因此音响师在很大程度上负责让你的声音传到大厅的后方。如果产生过多的共鸣，你听起来就像一个试图唱音乐剧的古典歌手。有些音乐剧角色需要饱满的共鸣音色，但古典音乐需要最大的共鸣。对于音乐剧，你需要知道如何在演唱正规曲目时打开空间以产生大量共鸣（正规曲目意味着在音乐剧中使用古典声音，例如《广场上的灯光》、《歌剧魅影》或《音乐之声》 ），然后在演唱更具对话性的当代音乐剧曲目（例如《身在高地》、《孟菲斯》或《春之觉醒》 ）时调整空间和共鸣。
• Musical theater: For this style of singing, you want to create resonance, but not as much as for classical singing. Musical theater singers often wear microphones onstage in productions, so the sound engineer is largely responsible for getting your voice to carry to the back of the hall. If you generate too much resonance, you sound like a classical singer trying to sing musical theater. Some musical theater roles require a full resonant tone, but classical music requires the most resonance. For musical theater, you want to know how to open the space to generate a lot of resonance when you sing legit material (legit means using classical sounds in musicals such as The Light in the Piazza, Phantom of the Opera, or The Sound of Music), and then adjust the space and resonance when you sing contemporary musical theater material that is more conversational (such as In The Heights, Memphis, or Spring Awakening).
• 流行摇滚和 R&B：这些演唱风格主要需要前鼻共鸣。你需要避免挤压喉咙和口腔的空间，但也不需要像古典歌手那样完全打开。空间可能没有那么开阔，但应该没有压力。流行摇滚和 R&B 歌手也使用麦克风。如果你的音色缺乏共鸣，麦克风很难拾取你的声音并将其投射到乐器上。你需要足够的共鸣来演唱这种风格的音乐，但不需要像古典歌手那样需要那么多。
• Pop-rock and R&B: These styles of singing require mostly forward nasal resonance. You need to keep from squeezing the space in the throat and mouth, but you also don’t need to be as fully open as classical singers do. The space may not be as wide open but it should be free of tension. Pop-rock and R&B singers also use a microphone. If your tone doesn’t have a lot of resonance, the microphone will have trouble picking up your sound and projecting it over the instruments. You want enough resonance to sing the style of music, but not as much as classical singers need.

录音艺术家在录音室里花费大量金钱来调整声音。在录音室里，你可以一直录音，直到完美无缺，或者录音师能把精彩的片段拼凑在一起。现场演唱会要求你一次就做到完美。你需要精湛的技巧，这样你才能在压力下依然保持可靠的嗓音。去现场演唱会现场，你就能感受到声音的差异——即使是最优秀的表演者也并非完美无缺。

Recording artists spend a lot of money altering sounds in the studio. In the studio, you can record until you get it perfect or the engineer can paste the fabulous segments together. A live concert requires that you get it right the first time. You want great technique so you know you can rely on your voice under pressure. Attend live concerts so you can hear the difference in sounds — even the best performers aren’t perfect.

探索你的谐振器

Exploring your resonators

唱歌时，你需要打开喉咙和口腔的空间，让所有共鸣腔（口腔、喉咙和鼻腔）都能发出声音。打开空间可以让音色在空间中产生共鸣，但唱歌时，音色需要向前移动，才能让每个人都听到；否则，你只是在脑海里上演一场私人音乐会。让声音向前移动意味着充分利用共鸣腔，让声音在每个共鸣腔中真正响起，同时你还要有意识地将声音向前推进，传遍整个房间。

When you sing, you want to open the space in your throat and mouth to generate sound in all your resonators (mouth, throat, and nasal passages). Opening the space allows the tone to resonate in the space, but tone needs to move forward when you sing for everyone to hear you; otherwise, you’re just staging your own private concert inside your head. Moving the sound forward means taking advantage of the resonators and allowing the sound to really ring in each resonating space while you intentionally propel the sound forward and into the room.

试着通过想象音色从你体内传出并进入房间来推动声音向前。有些歌手会刻意想象自己吞咽了音色，以理解与音色向前移动相反的效果。当你感受到这种感觉时，可以将其与想象音色向前移动并进入房间时的感觉进行比较。阅读“发出共鸣”部分，探索声音向前移动的感觉。了解如何利用所有共鸣，可以帮助你用美妙的音色填满整个音乐厅，而不仅仅是你的车里。

Try to propel the sound forward by visualizing the tone moving out of you and into the room. Some singers intentionally visualize that they swallow the tone to understand the opposite of moving the tone forward. When you feel that sensation, you can compare it to what you feel when you visualize the tone moving forward and into the room. Read the section “Ringing it out” to explore the feeling of the sound moving forward. Knowing how to access all that resonance can help you fill an entire concert hall, instead of just your car, with great tone.

继续阅读，了解更多关于鼻腔共鸣的信息，你会感觉到面部振动。你可以查看第六章中关于打开喉咙的信息，这有助于在喉咙和口腔中产生共鸣音。阅读第八章，了解更多关于如何发出同样共鸣的元音，以及如何让你的歌词在音乐厅的后排也能被听到的信息。

Keep reading for more information about resonance in the nasal passages, which you feel as vibration in your face. You can check out the information in Chapter 6 on opening the throat, which helps create resonant tone in your throat and mouth. Read Chapter 8 for more about producing equally resonant vowels and making your words heard from the back of the concert hall.

响起

Ringing it out

吞咽元音会使声音反向移动——这与为了达到你想要的共鸣而推动声音向前相反。为了创造出在房间里回荡的共鸣音，让共鸣的声音和感觉向前移动。请遵循以下步骤：

Swallowing vowels moves the sound into reverse — it’s the opposite of propelling the sound forward to achieve the resonance you want. To create resonant tones that resound around the room, allow the sound and sensations of the resonance to move forward. Follow these steps:

1. 通过哼唱来维持 M 辅音。

   注意嘴唇和脸部周围的嗡嗡声。

2. Sustain an M consonant by humming.

   Notice the buzzing sensation in your lips and around your face.

3. 再次维持 M 辅音片刻，然后维持 ee 元音。

   听起来像“MMMMMeeeeeeeeeee”。

4. Sustain an M consonant again for a few moments, and then sustain an ee vowel.

   It sounds like “MMMMMMeeeeeeeeee.”

5. 现在唱同样的“MMMMMMeeeeeeeeee”。

   注意 ee 是否在与M相同的区域发出嗡嗡声或共鸣声。大多数人说，持续发M辅音会在他们的嘴唇周围或脸部前方产生嗡嗡声，因此当你移动到元音ee 时寻找相同的感觉。

6. Now sing the same “MMMMMMeeeeeeeeee.”

   Note whether the ee buzzes or resonates in the same vicinity as the M. Most people say that sustaining the M consonant creates a buzz of vibrations around their lips or in the front of their face, so look for that same sensation when you move to the vowel ee.

7. 当M–ee很容易并且您已经探索了两种声音的嗡嗡声感觉时，请尝试M–ooh、M–oh和M–ah。

   M–ah可能比较难感觉到，但尝试唱出h并保持与M–ee中相同的振动。

8. When M–ee is easy and you’ve explored the buzzing sensations for both sounds, try M–ooh, M–oh, and M–ah.

   M–ah may be harder to feel, but try to sing ah and keep the same vibrations you found in M–ee.

9. 当这很容易时，在辅音和元音之间滚动，唱出像many和moment 这样的单词。

   每次从辅音到元音时，都要保持相同的响声或嗡嗡的共鸣感。

10. When that’s easy, roll between consonants and vowels, singing words like many and moment.

    Maintain the same ring or buzzing sensation of resonance each time as you go from the consonant to the vowel.

感受软腭工作

Getting the feel for soft palate work

观察软腭的活动有助于你想象它是如何正常工作的。但在观察它运作之前，你需要先弄清楚它在你口腔中的位置。

Seeing your soft palate in action helps you visualize it working correctly. But before you watch it work, you need to find out where it is in your mouth.

用舌头沿着门牙后部，然后沿着口腔顶部滑动。你会感觉到牙龈后方有一道脊线，然后是硬腭的硬度，最后是后部的软组织。这些软组织就是你的软腭。

Run your tongue along the back of your front teeth and then along the roof of your mouth. You can feel a ridge right after your gums, then the hardness of the hard palate, and then the soft tissue at the back. That soft tissue is your soft palate.

要观察软腭运动，请按照以下步骤操作：

To see your soft palate move, follow these steps:

1. 一边照镜子，一边用手电筒照射嘴巴。
2. Shine a flashlight in your mouth while looking in the mirror.
3. 打哈欠，这样你就能看到软腭抬起。
4. Yawn so that you can see the soft palate lift.
5. 说“Hung”或“Ugh”来观察舌头和软腭的接触。
6. Say “Hung” or “Ugh” to see the tongue and soft palate touch.

如果你不确定软腭移动时是什么感觉，那我允许你少睡一会儿，打个呼噜。打呼噜能让你感觉到软腭移动。

If you aren’t sure what your soft palate feels like when it moves, then I give you my permission to cut some zzzzz’s and snore. Snoring helps you feel your soft palate moving.

要感受软腭，假装你在睡梦中打鼾。张开嘴巴，用鼻子吸气。如果这只会让你的鼻子颤抖，就用手指捂住鼻子，堵住鼻孔。当你堵住鼻孔后，试着再次用嘴呼吸打鼾。你感觉到的颤抖是软腭在运动。

To feel the soft palate, pretend that you’re snoring in your sleep. Snore with your mouth open and take in air through your nose. If this only gets your nose quivering, put your fingers on your nose and close off your nostrils. When you close your nostrils, try snoring again by breathing through your mouth. That quivering you feel is your soft palate moving.

练习本节的练习时，请记住软腭抬起和舌头触碰软腭时的感觉和样子。这些动作协调一致，可以防止发音时鼻音过重。

As you practice the exercises in this section, bear in mind how it felt and looked to have your soft palate lift and to have your tongue touch your soft palate. These movements, when coordinated, keep your sound from being too nasal.

协调软腭和舌头

Coordinating your soft palate and tongue

了解了软腭的位置和移动时的感觉后，您需要发现如何协调软腭和舌头的运动。了解如何移动软腭对于说话和唱歌很重要，因为您需要软腭抬起才能发出共鸣音。如果软腭没有抬起，发出的声音就会在鼻子中产生过多的共鸣，或者像您可能听过某人说的那样，是“鼻音”。要发出具有共鸣音的声音，请探索以下练习，以帮助您在说话时感受舌头和软腭的运动。然后，您可以将同样的知识应用到唱歌中。当唱需要移动软腭的辅音时，移动舌头和软腭直到它们接触，然后抬起软腭并放下舌头。

When you know where your soft palate is and how it feels when it moves, you need to discover how to coordinate that movement of your soft palate with your tongue. Knowing how to move the soft palate is important for speaking and singing, because you want the soft palate to lift for a resonant tone. If the soft palate doesn’t lift, you make a sound that has too much resonance in your nose, or a “nasal sound,” as you may have heard someone say. To make a sound that has a resonant tone, explore the following exercises to help you feel the movement of the tongue and soft palate in words. You can then apply that same knowledge to your singing. When it’s time to sing a consonant that requires moving the soft palate, move the tongue and soft palate until they touch and then lift the soft palate back up and release the tongue down.

在第9章中，你可以探索辅音。为了准备一些你需要在口腔中做出的动作，你需要能够移动舌头触碰软腭，然后向下移动并放在嘴里。为了感受舌头后部如何抬起与软腭接触，然后向下移动，请执行以下操作：

In Chapter 9, you can explore consonants. To prepare for some of the movements you need to make in your mouth, you want to be able to move your tongue to touch your soft palate and then go back down and rest in your mouth. To feel how the back of your tongue raises to meet your soft palate and then moves back down, do the following:

1. 上下移动软腭。

   站在镜子前，用手电筒照一下你的口腔后部。找到你的软腭，试着移动它。如果你不确定如何移动它，可以说发出“Hung - ah”的声音，观察软腭和舌头的接触和分离。重复几次“Hung - ah”，直到你能感觉到肌肉在推动软腭运动。试着将软腭向上移动，然后放松。如果仍然无法移动，就打个哈欠。打哈欠时，软腭会向上移动。舌头通常会在打哈欠时向下放松。你不应该像打哈欠快结束时那样，舌头向下推；你应该在软腭向上移动时，舌头向下放松。

2. Move the soft palate up and down.

   Stand in front of the mirror and shine a flashlight at the back of your mouth. Locate your soft palate and try to move it. If you aren’t sure how to move it, say “Hung-ah” and watch the soft palate and tongue meet and then separate. Say the “Hung-ah” several more times until you can feel the muscles that move the soft palate. Try to move the soft palate up and then release. If it still won’t move, yawn. The soft palate moves up at the beginning of a yawn. The tongue usually releases down at the beginning of a yawn. You don’t want the tongue to push down as it does toward the end of a yawn; you want the tongue to release down as the soft palate moves up.

3. 抬起软腭并保持四秒。

   回顾前面的步骤，学习如何抬起软腭。当你能够完成这个动作时，抬起软腭，练习保持四拍。放松，然后再抬起四拍。唱歌或说话时，抬起软腭是必要的。保持软腭向上可以保持恰到好处的共鸣，因为软腭下落过低会使声音带有鼻音。

4. Lift your soft palate and keep it up for four counts.

   Review the preceding step to figure out how to lift your soft palate. When you can execute that motion, lift the soft palate and practice keeping it up for four counts. Release it and then hold it up again for four counts. Holding up the soft palate is what you want to do when you sing or speak. Keeping the soft palate up keeps the resonance just right, because dropping the soft palate too low makes the sound nasal.

5. 上下移动舌头。

   再说一次“Hung - ah”，观察舌根向上移动。看看你是否能像反复发K音那样上下移动舌根。练习上下移动舌根，直到你确信自己知道如何向上移动，然后松开。

6. Move the tongue up and down.

   Say the “Hung-ah” again and watch the back of your tongue move up. See whether you can move the back of the tongue up and down, as you do when you’re repeatedly saying a K sound. Practice moving the back of the tongue up and down until you’re confident that you know how to move it up and then release it.

7. 将舌头和软腭分开。

   抬起软腭，放松舌头。不要把舌头往下压，而是放松舌头，这样口腔里就会有空间，或者说软腭和舌头之间会有距离。这种打开的感觉正是你在吸气和唱歌时想要感受到的。

8. Separate the tongue and the soft palate.

   Lift the soft palate and release the tongue. Don’t press the tongue down, but release it so there’s space in the mouth or distance between the soft palate and the tongue. This opening is what you want to feel when you inhale and when you sing.

通过鼻子移动空气

Moving air through the nose

鼻腔共鸣不同于鼻音。鼻腔共鸣指的是利用鼻腔中的声音共鸣。如果所有声音都在鼻腔中共鸣，那么这个声音就是鼻音，或者鼻音太重。除非你在哼歌，或者在发出鼻辅音（ M、N、NG ）的瞬间，气流不应该从鼻子中流出。为了帮助你感受鼻腔共鸣的声音，并感受气流从鼻子中流出，请尝试以下练习：

Nasal resonance is different from a nasal sound. Nasal resonance involves taking advantage of the sound resonating in the nasal passages. If all the sound resonates in your nasal passages, the sound is a nasal sound or too nasal. Air shouldn’t be moving out of your nose unless you’re humming or for the split second it takes for you to make a nasal consonant (M, N, NG). To help you feel the sounds of nasal resonance and feel the air moving out of your nose, try the following exercise:

1. 哼唱几句歌曲，感受嘴唇周围的嗡嗡声。

   哼唱是延长M辅音。你应该能感觉到鼻腔里这个辅音的嗡嗡声或共鸣。

2. Hum a few bars of a song to feel buzzing around your lips.

   Humming is prolonging an M consonant. You should be able to feel the buzzing or resonance of that consonant in your nasal passages.

3. 尝试捏住鼻子并哼唱。

   没用吧？当你闭上嘴巴，捏住鼻子时，空气就无路可逃了。

4. Try humming while holding your nose.

   Doesn’t work, does it? When you close your mouth and hold your nose, the air has no escape route.

5. 再次哼唱，不要捏住鼻子。

   注意气流从鼻子呼出。唱歌时，这种呼气方式很好，只要你只在发鼻辅音（例如M、N或NG）时让气流呼出即可。当软腭再次​​抬起时，气流就会从嘴里呼出，从而形成更平衡的共鸣音。

6. Hum again without holding your nose.

   Notice the flow of the air coming out of your nose. This escape route is just fine when you’re singing, as long as you allow the air to escape only when you’re pronouncing nasal consonants, such as M, N, or NG. When the soft palate lifts again, the air escapes out of your mouth, creating a more balanced resonant tone.

唱元音时，空气应该从嘴里呼出。如果没有呼出，这个声音就是鼻音。记住，唱鼻辅音时，空气可以从鼻子呼出，但唱元音时则不行。如果唱元音时空气从鼻子呼出，就会发出不理想的鼻音，因为这样无法充分利用所有共鸣器。请参阅第四章关于呼吸的章节，了解如何在持续音中协调身体。

When you sing a vowel, you want the air to come out of your mouth. If it doesn’t, the sound is nasal. Remember that you can have air coming out of your nose as you’re singing nasal consonants, but not while you’re singing a vowel sound. If air comes out of your nose while you’re singing a vowel, you create an undesirable nasal sound, which doesn’t take advantage of all the resonators. See Chapter 4 on breathing for help with coordinating your body on sustained tones.

误解：声音会在鼻窦中产生共鸣

Misconception: Tone resonates in your sinuses

有时声乐老师会说：“让声音在你的鼻窦中产生共鸣。” 这听起来很形象，但即使你能感觉到面部的振动，声音也不会在鼻窦中产生共鸣。声音可能会在鼻腔中产生共鸣，但不会在鼻窦中产生共鸣。你感受到的是共鸣振动，也称为交感共振。老师试图让你做的是探索声音在你面部——或者像一些老师喜欢称呼的那样，在面罩中——的振动。

Sometimes a voice teacher says, “Let the tone resonate in your sinuses.” It’s a nice image, but sound doesn’t resonate in the sinuses even though you may feel the vibrations in your face. Sound may resonate in the nasal passages but not in the sinuses. You’re feeling sympathetic vibrations, also known as sympathetic resonance. What the teacher is trying to get you to do is explore the vibrations of sound in your face — or in the mask, as some teachers like to call it.

你的面具就是你脸的正面。想象一下，你脸上的骨头和皮肤就像一张面具，罩在另一张脸上。你可能会感觉到声音剧烈震动，就像你的脸正面贴了某种金属一样。

Your mask is the front of your face. Think of the bones and skin on your face as a mask sitting on top of another face. You may feel the sound vibrating like crazy as if you have some metal substance on the front of your face.

没有必要纠正那些说“让音色在你的鼻窦中产生共鸣”的人。只要继续探索共鸣，每个人都会受益。

No need to correct someone who says, “Let the tone resonate in your sinuses.” Just keep exploring sympathetic resonance, and everyone wins.

误解：你必须把每个音色放在同一个位置

Misconception: You have to place every tone in the same location

“位置”这个词容易让人误解。你可以想象和感受，但你无法真正地把一个音色放在任何地方。“位置”是声乐老师常用的一个词，它并非全是坏事。他们真正想要的是你探索这些感觉，并从你的歌声中获得尽可能共鸣的音色。他们可能会说，要聚焦声音才能获得最大的共鸣。想想你是如何聚焦手电筒以获得强烈清晰的光束的。保持你的声音聚焦，要知道聚焦通常被称为“放置”或“定位”。记住，这些想象可以帮助你获得你想要的声音。

The word place is misleading. You can visualize and feel, but you can’t literally place a tone anywhere. Place is a common word voice teachers use, and it’s not all bad. What they really want is for you to explore the sensations and get the most resonant tone possible from your singing voice. They may say to focus the sound to get the most resonance. Think about how you focus a flashlight to get a strong, clear beam of light. Keep focusing your sound, and know that focusing is often called placing or placement. Remember, these images can help you achieve the sound you’re trying to produce.

同样令人困惑的是，你并非会在同一个位置感受到每个音色。同样，你可以集中注意力，尝试在同一个位置感受声音。你可能更多地感觉头部或头顶的振动是头声，而胸腔的声音则更多地感觉是胸腔。在头部感受胸腔的声音要困难得多，所以“把音色放在完全相同的位置”很难。努力在所有音色中寻找亮点并集中注意力，然后记住那种感觉，无论它在哪里。

Also confusing is the fact that you don’t feel every tone in the same location. Again, you can focus and try to feel sound in the same place. You probably feel head voice vibrations more in your head or on the top of your head, and you feel chest voice in your chest. Feeling the sounds of chest voice in your head is much harder, so “placing the tones in the exact same location” is tough. Work to find brilliance and focus in all tones, and then remember that feeling, no matter where it is.

前段时间，我和一位很棒的导演合作，他一直让我把音色放在嘴唇外面。当他最终说“对了，就是那个位置”时，我感觉不到声音在嘴唇附近。我意识到我必须找到正确的声音，注意我在哪里感觉到了它，并记住它的感觉。记住，每个人都是不同的。我感觉到振动的地方，你可能不会。努力达到音色的品质，并记住你感觉到的振动是由此产生的。

Some time ago, I worked with a wonderful director who kept asking me to place the tone outside my lips. When he finally said, “That’s right; that’s the place,” I didn’t feel the sound anywhere near my lips. I realized that I had to find the correct sound, notice where I felt it, and remember what it felt like. Remember that every body is different. Where I feel a vibration, you may not. Work to achieve the quality of tone, and remember that the vibration you feel is a result of this.

误解：你应该保持舌头完全平放

Misconception: You’re supposed to keep your tongue completely flat

舌头必须移动来形成元音和辅音，所以它不能一直处于向下状态。释放舌头的紧张感与保持舌头处于向下状态是不同的。您可以阅读第 5 章中有关释放舌头紧张感的内容。释放紧张感后，您可以移动舌头来形成元音和辅音，而不必上下按压。正如您在第 8 章中读到的，您的舌头会拱起以发出某些元音。有时拱起位于舌头的前部，有时位于舌头的后部。如果您试图一直保持舌头处于向下状态，最终可能会使元音发音变得闷闷不乐。到时候让舌头发挥作用会更容易。

The tongue has to move to shape vowel sounds and consonant sounds, so it can’t stay down all the time. Releasing tongue tension is different from keeping the tongue down. You can read about releasing tongue tension in Chapter 5. After releasing the tension, you can move the tongue to shape vowel sounds and consonant sounds without pressing up or down. As you can read in Chapter 8, your tongue arches to make certain vowels. Sometimes the arch is in the front of the tongue, and sometimes it’s in the back of the tongue. If you’re trying to keep your tongue down at all times, you may end up muffling your vowels. Allowing your tongue to do its job when the time comes is easier.

误解：你需要把嘴张得尽可能大

Misconception: You need to open your mouth as wide as possible

张开嘴唱歌是件好事。打开口腔后部的空间非常好。但是，嘴张得太开并不好，因为声音会扩散。下巴下垂得太低实际上会封闭后部的空间。有关打开下颌的说明，请参阅第 5 章。要找到合适的空间，将中指和无名指并拢，一根手指放在另一根手指上。手指与地面平行，将两根手指放入口中，位于牙齿之间，观察唱“啊”时这个空间如何改变声音。创造空间，然后移开手指。如果嘴张得太大，真的会适得其反。张开嘴让声音发出来，但不要露出扁桃体，无论它们多么美丽。

Opening the mouth for singing is good. Opening the space in the back of your mouth is excellent. Opening your mouth too far isn’t good, however, because the sound spreads. Dropping the chin too far actually closes off the back space. See Chapter 5 for an explanation about opening the jaw. To find the right space, put your second and third fingers together with one finger on top of the other. With your fingers parallel to the floor, place your two fingers in your mouth between your teeth, and see how that space changes the sound when you sing ah. Create the space and then remove your fingers. You really can have too much of a good thing if you open your mouth too wide. Open your mouth to let the sound come out, but don’t show your tonsils, no matter how beautiful they are.

误解：声音越靠前越好

Misconception: The more forward the sound, the better

确实，如果吞掉元音，就会发出向后的声音，这不太好。然而，如果只想着尽可能地把声音向前推进，就能发出尖锐的声音。你可能想用这种声音来演绎角色的声音，但我不建议每首歌都这样做。歌曲中共鸣的多样性很重要。作为一名演员，你需要创造出各种各样的声音来展现你正在讲述的故事——每首歌都有一个故事要讲述。请参阅第18章关于表演和创造旅程的内容。

It’s true that if you swallow your vowels, you create a backward sound, which isn’t so great. However, by thinking only of projecting your voice forward as much as possible, you create a piercing sound. You may want to use that sound for a character voice, but I don’t recommend doing it for every song. Variety in resonance is important in a song. As an actor you want to create a variety of sounds to represent the story you are telling — every song has a story to tell. See Chapter 18 about acting and creating a journey.

误解：你必须微笑才能继续在球场上表演

Misconception: You have to smile to stay on pitch

“微笑能保持音准”的另一个谬论是扬眉毛来保持音准。很多人认为扬眉毛能产生一种上扬的效果，有助于保持音准。问题是，这种上扬会造成不必要的紧张——而且，它会让你看起来总是一脸惊讶。微笑也是如此。微笑是一件美好的事情，但它会在唱歌时给你的面部造成不必要的紧张。微笑通常会将嘴角拉向耳朵，并收紧口腔内的肌肉。如果你能想象微笑时脸颊轻轻上扬，眼睛后方张开，你仍然可以运用这个方法。

The other counterpart of the smile-to-stay-on-pitch myth is raising your eyebrows to stay on pitch. Raising your eyebrows creates a lift that many people believe helps you stay on pitch. The problem is that this lift can cause unnecessary tension — plus, it makes you look surprised all the time. The same is true about smiling. A smile is a beautiful thing, but it can cause unnecessary tension in your face while singing. Smiling usually pulls the corners of the mouth toward the ears and tightens the muscles inside the mouth. You can still use this idea if you think of a smile gently lifting up the cheeks and opening behind your eyes.

你可能也尝试过把嘴唇外张来集中音色。这能改变声音，但你不能总是依赖可爱的鱼嘴来发出清脆的声音。通过探索共振，让你的嘴唇变圆，从而形成元音，找到明亮的共振音。阅读第5章了解更多关于音色匹配的信息，以及第8章关于元音的信息。如果你的音色很好，元音也很精准，你就不需要收紧任何东西来提高音色。

You may also have explored pushing the lips out to focus a pitch. It changes the sound, but you can’t always depend on adorable fish lips for ringing sounds. Find the bright resonant sound by exploring sympathetic vibrations so your lips can round to shape the vowels. Read Chapter 5 for more information about matching pitch and Chapter 8 about vowels. If your pitch is good and your vowels are precise, you don’t need to tighten anything to help the pitch.

探索后元音的形状

Exploring the shape of back vowels

在表 8-1中，你可以大声朗读每一列，感受并听出几个单词中相同的元音发音。然后，你可以逐页阅读，探索其中的差异。当你理解了每个元音的发音和形状后，你就可以只提取发音，不用考虑单词本身，这样唱歌时就可以快速地从一个元音转换到另一个元音。

In Table 8-1, you can read down each column out loud to feel and hear the same vowel sounds in several words. Then you can read across the page to explore the differences. When you understand the sound and shape of each vowel, you can isolate just the sound, without the word, to move quickly from one vowel sound to the next when you sing.

如果你从左到右阅读表 8-1中的文字，你就能感受到你的

If you read the words across the page from left to right in Table 8-1, you can feel your

• 最令人吃惊的元音啊。
• Jaw dropping the farthest for the vowel ah.
• 嘴唇从发“哦”音时呈圆润微张的状态，到发“啊”音时放松张开的状态。想象一下，一排五个圆圈代表圆润的嘴唇。左边的圆圈代表“哦”音；嘴唇闭合，嘴唇张开，呈圆形。第二个圆圈代表“哦”音；嘴唇的张开程度比“哦”音略大。第三个圆圈代表“哦”音；嘴唇的张开程度比“哦”音略大。第四个圆圈代表“啊”音，嘴唇的张开程度比“哦”音略大。第五个圆圈代表“啊”音；它是最大的圆圈，代表嘴唇完全张开。
• Lips moving from rounded and slightly open for the ooh sound to relaxed and open for the ah sound. Picture five circles in a row, representing rounded lips. The circle on the left is ooh; the lips are close together, with a small, round opening. The second circle is OOh; the opening of the lips is slightly larger than with ooh. The third circle is oh; the opening is slightly larger than with OOh. The fourth circle is aw, and the opening is slightly larger than with Oh. The fifth circle is ah; it’s the largest of the circles and represents the full opening of the lips.
• 发“ooh ”元音时，舌后部会拱得更高，而发“ah”时，舌后部会稍微拱起。图8-1展示了发后元音时舌的拱度。
• Tongue arching higher in the back of your tongue on the ooh vowel sound and arching only slightly for ah. The illustration in Figure 8-1 demonstrates the arch of the tongue for back vowels.

即使你的母语是英语，OOh 和 aw 的发音也比较难。练习ooh和OOh能帮助你区分这两个发音。OOh的发音类似于德语中 und 的发音。你还需要练习aw和ah来区分这两个发音。

The OOh and aw sounds are tricky, even if your first language is English. Practicing the ooh and OOh helps you discover how to distinguish between the two sounds. OOh is similar to the sound of und in German. You also want to practice aw and ah to make a difference between these two sounds.

这些词在美国各地的发音大多不同，但“blah”中元音的发音应该与“bra”和“plaza”的发音完全相同。这些发音适用于标准美式方言——也就是美式英语的发音。歌手在演唱民谣、乡村音乐，有时甚至流行音乐时可以使用本地区的方言，但在演唱古典音乐或表演音乐剧时则不能使用。

Most of these words are pronounced differently across the United States, but the sound of the vowel in blah should be the exact same sound for the words bra and plaza. These pronunciations are for standard American dialect — how American English is supposed to be pronounced. Singers can use their regional dialect when they sing folk music, country, and sometimes pop, but not when they sing classical music or perform musical theater.

就在你开始理解所有这些元音的时候，一个棘手的辅音出现了，让情况更加混乱。W被认为是辅音，但它的发音像ooh（后元音），而且嘴唇像ooh 一样圆润。因为W音会滑入另一个元音，所以你可以通过从ooh移动到ee来发出单词we的音。

Just when you were beginning to make sense of all these vowel sounds, along comes a tricky consonant to muddle things further. W is considered a consonant, but it sounds like ooh (a back vowel sound) and the lips round as in ooh. Because the W sound glides into another vowel, you make the sound of the word we by moving from ooh to ee.

唇形围绕着你的后元音

Lipping around your back vowels

下表中的句子让你有机会将表 8-1中发现的所有元音形状运用到实际中，并通过一系列相似的元音发音。试着回忆一下每个元音的形状，这样你在唱歌时就能轻松区分它们。

The sentences in the following list give you the chance to put all those shapes you discover in Table 8-1 into action, speaking through a series of similar vowel sounds. Try to recall the shape of each vowel so you can easily differentiate among the vowel sounds when you sing.

• 哦
  • 你引导谁？​​​​​
  • 给布鲁斯准备了大量的蓝色果汁。​
  • 舒伯特弄伤了谁的鞋？​​
  • 松根吓坏了。​​​​
• ooh
  • Whom do you boot?
  • Oodles of blue fruit juice for Bruce.
  • Whose shoes did Schubert bruise?
  • Loose roots spooked Pooh.
• 哦
  • 煮熟的雾会熏到你的脚。
  • 她吃了很好吃的糖饼干。
  • 公牛站在小溪的拐弯处。​​
  • 新手能拔羊毛吗？​​​
• OOh
  • The cook mistook your foot for soot.
  • She took good sugar cookies.
  • The bull stood in the crook of the brook.
  • Could the rookie pull wool?
• 哦
  • O mit o vert o vations。
  • 奥利维亚捐赠了诗意领域。​​
  • 这家汽车旅馆位于绿洲内。
  • 旋转坚固的马赛克。​​
• oh
  • Omit overt ovations.
  • Olivia donates poetic domains.
  • The motel located the oasis.
  • Rotate the robust mosaic.
• 一个​
  • 她看到了法律的缺陷。
  • 小心！他买了一把可怕的锯子。
  • 保罗，用粉笔写下这条路。
  • 小鹰咬住了生稻草。​​​
• aw
  • She saw the flaw in the law.
  • Caution! He bought the awful saw.
  • Paul, chalk the walk.
  • Fawns gnawed the raw straw.
• 啊
  • 把镇静膏涂在我的手掌上。
  • 父亲让我做个好梦。​​
  • 水疗中心的s a ga是一个外观。
  • 我在拉斯维加斯的家中看过一场戏剧。
• ah
  • Put the calm balm on my palm.
  • Father made macho tacos.
  • The saga at the spa was a façade.
  • Suave drama at casa Las Vegas.

唱后元音

Singing the back vowels

唱出图 8-2中的节奏型，练习后元音的发音。（有关图 8-2中乐谱的帮助，请参阅第一章。）通过用元音做出精确的发音形状（就像你念表 8-1中的单词时那样），你唱出单词时就能很容易地让别人听懂。当一系列为了让元音发音变得容易，请查看表 8-1找到与每个元音发音相匹配的单词，并跟着唱出来。

Sing the pattern in Figure 8-2 to practice shaping the back vowels. (See Chapter 1 for some help with the musical notation in Figure 8-2.) By making precise shapes with the vowel sounds (as you do when speaking through the words in Table 8-1), you can easily make yourself understood when you sing words. When the series of vowels becomes easy for you, look at Table 8-1 to find words that go with each of the vowel sounds and sing through them.

探索前元音的形状

Exploring the shape of front vowels

前元音的开口比后元音小得多。我不是说你的嘴巴空间不足，而是这些元音的开口不如后元音大。这听起来可能有点奇怪，但事实确实如此。

The front vowels are much less open than the back vowels. I’m not saying that your mouth lacks space, but these vowels aren’t as wide open as the back vowels. It may sound odd, but it’s true.

表 8-2中的元音被称为前元音，因为发音时舌头会在口腔前部拱起。保持舌尖触碰下门牙，发出元音ee。注意发这个音时舌头在口腔前部是如何拱起的。你还会感觉到舌头两侧上扬。后元音和前元音的另一个区别是，当舌头在口腔前部拱起时，舌头两侧也会抬起并触碰上牙。当你发出元音时，你会感觉到你的

The vowels in Table 8-2 are called front vowels because the tongue arches in the front of the mouth to make these sounds. Keeping the tip of your tongue touching your bottom front teeth, say the vowel ee. Notice how your tongue arches in the front of your mouth when you make the sound. You also feel the sides of your tongue go up. Another difference between back and front vowels is that, when the tongue arches in the front, the sides of the tongue also raise and touch the upper teeth. As you speak through the vowels, you feel your

• 发ee元音时下巴稍微下垂，从ee向 'a'移动时下巴逐渐下移。
• Jaw drop slightly for the ee vowel and gradually move down more as you move from ee toward ‘a’.
• 发ee元音时嘴唇微微张开，发到最张开的元音“a”时，下巴会下垂，嘴唇张得更大。
• Lips slightly open for the ee vowel, and open more as your jaw drops when you move to the most open vowel, ‘a’.
• 舌头向前拱起，发ee元音时舌头最高，发 a 元音时舌头最低，舌尖靠在下门牙上。
• Tongue arching in the front, the highest on the ee vowel and the lowest on the ‘a’ vowel, and the tip of the tongue resting against your bottom front teeth.

图 8-3显示了前元音的舌弓。

Figure 8-3 shows the arch of the tongue for front vowels.

表 8-2中的一些单词有两个元音。我指的是第一个音节中先出现的元音。

Some words in Table 8-2 have two vowels. I’m referring to the vowel sound that comes first — in the first syllable.

这个辅音的发音类似于why，但它发出的音却不是这个样子。Y被认为是辅音，但它的发音类似于ee（就像单词 you 中的 ee-ooh）。Y 的发音直接过渡到下一个元音。

The name of the consonant is pronounced like why, but that’s not the sound it makes. Y is considered a consonant, but it sounds like ee (as in the word you — ee-ooh). The sound of the Y glides right into the next vowel.

发前元音

Speaking the front vowels

在这里，你可以把所有前元音组合成句子来练习口语。使用这些元音可以让你在发完辅音后，有机会回到正确的舌弓位置。当你能够自信地唱出每个元音时，你甚至可以用包含前元音的句子来演唱图 8-4中的音乐示例。

Here you can put all the front vowels in sentences to practice speaking. Using these vowels gives you an opportunity to return to the correct arched position of your tongue after moving through the consonants. You can even use the sentences with front vowels to sing the musical example found in Figure 8-4 when you’re confident singing the individual vowels.

• ee
  • 我们遇到了瘦弱的、卑鄙的朋友。​
  • 他给菲比的膝盖涂了油。​​
  • 绿鳗鱼肉奶油。​​​​
  • 让我开心一下吧，夏娃。​​​
• ee
  • We meet lean, mean fiends.
  • He greased Phoebe’s knees.
  • Greedy eels eat cream.
  • Leave me peas teased, Eve.
• 呃
  • 时髦的小妞们编织漂亮的手套。​​
  • 克里夫修好了它的灯芯。​​​​
  • 蒂姆正忙着他的建筑。​​​​
  • 挖菲利普的快妹妹莉莉。​​​​
• ih
  • Hip chicks knit pretty mitts.
  • Cliff fixed its clipped wick.
  • Tim’s busy with his building.
  • Dig Phillip’s quick sister Lilly.
• 哎
  • 大丹犬拯救了鲸鱼。​​
  • 他们说A体重增加了。​​ ​​
  • 凯特拯救了八个猎物。​​​
  • 詹姆斯指责戴夫的统治。​​​
• ay
  • Great Dane saves whale.
  • They say Abe gained weight.
  • Kate saves eight prey.
  • James blames Dave’s reign.
• 呃
  • Deb的宠物啄了每一个钉子。​​
  • 艾德的头脱落了铅。​​​
  • 奈德说，任何对冲都可以。​​
  • 凯莉的一位温柔的客人死了。​​
• eh
  • Deb’s pet pecked every peg.
  • Ed’s head shed red lead.
  • Edge any hedge, said Ned.
  • Kelly’s mellow guest fell dead.
• 一个
  • 兰斯最后看不下去了。​​​​
  • 在Fr a n之后再问一半。
  • 大量口罩快速穿过。​​​​
  • 沿着草路昂首阔步。​​​​​​
• a
  • Lance can’t glance last.
  • Ask half after Fran.
  • Vast masks pass fast.
  • Prance aghast past grassy path.

“ay”元音实际上是双元音，也就是两个元音连在一起。我把它放在前元音列表中，因为舌弓对于发出正确的音很重要。当你发出“ay”音时，只要记住它是一个双元音，并且要经过两个元音即可。

The ‘ay’ vowel is actually a diphthong, or two vowel sounds together. I include it in the front vowel list because the arch of the tongue is important for making the correct sound. As you make an ‘ay’ sound, just know that it’s a diphthong and that you move through two vowel sounds.

唱前元音

Singing the front vowels

唱歌时，你需要发出精准的元音。唱歌需要你快速地从一个元音切换到另一个元音；你必须快速改变舌弓来适应不同的元音。你必须让舌形与音乐的速度同步。如果你单独练习唱元音，你就有机会在加入辅音之前，真正地掌握元音的发音。

You want to make precise vowel sounds as you sing. Singing a song requires you to move quickly from one vowel sound to the other; you must quickly change the arch of your tongue to accommodate the different vowel sounds. You have to make the shape happen at the speed of the music. If you practice singing the vowels alone, you give yourself the chance to really get them solid before you add consonants in words.

当你唱出图 8-4中的节奏型时，你可能无法区分每个元音。所以，你可以录下自己跟着在线音轨唱歌的声音，然后听录音。假装你从未见过这个节奏型，试着分辨出你唱的是哪个元音。注意哪些元音发音不太准确，你可以在下次练习时优先考虑这些元音。如果发音不清楚，就回去练习摆出这个节奏型，用元音念出歌词，然后再唱一遍。

You may not be able to tell the difference between each vowel sound as you’re singing the pattern in Figure 8-4. So record yourself singing along with the online tracks and then listen to the recording. Pretend that you’ve never seen the pattern and try to distinguish which vowel you’re singing. Notice which vowels aren’t as precise as others, and you can make those a priority in your next practice session. If they aren’t clear, go back and practice making the shape, saying the words with the vowels, and then singing again.

按照图8-4中的元音序列练习，快速弯曲舌头，发出正确的元音。如果舌头移动不够快，你可以唱不同的元音。没问题——继续尝试。当你能够清晰地区分每个元音时，可以在练习模式中加入一些单词，为练习增添变化和趣味。

Work the vowel sequence in Figure 8-4 to get that tongue arched quickly to get the right vowel sound. If your tongue doesn’t move fast enough, you may sing a different vowel. No problem — just keep trying. When you’re able to clearly distinguish each vowel sound, insert some words into the pattern for variety and spice in your practice routine.

塑造尖端辅音

Shaping tip consonants

唱歌时，你需要吸一口气，打开喉咙和嘴巴的空间，然后调整元音和辅音的发音形状。在唱歌的最初阶段，你需要做很多准备工作，而且所有这些调整都会随着你唱出歌词而持续进行。练习这些形状，直到你确信自己可以不假思索地发出尖辅音。D 、T和S是最常发错的尖辅音。D经常被错误地发音成T。发D音时，一定要注意聆听自己声音的发音。每天练习这些形状能帮助你快速掌握尖辅音。

To sing a song, you take a breath, open the space in your throat and mouth, and then shape for the vowel and consonant. That’s a lot to do in the first moment of your song, and all these shapes continue as you sing through the words in your song. Until you’re confident that you can shape tip consonants without thinking about it, practice them. D, T, and S are the most commonly mispronounced tip consonants. D is often mistakenly pronounced like a T. Be sure to listen for the sound of your voice when you make the D. Practicing these shapes every day will help you quickly get the hang of tip consonants.

唱歌时使用音尖辅音

Singing tip consonants

练习图9-1中的模式时，把每个音节念几遍，感受一下舌尖在发辅音时是如何移动的。练习每一句歌词，直到每一句都清晰为止。边唱边录下来，然后听一听，看看你的辅音是否清晰。

As you practice the pattern in Figure 9-1, speak through the syllables a couple times to get the feeling of the tip of your tongue moving to make the sound of the consonant. Practice the lines until each one is clear. Record yourself as you sing along, and listen back to hear whether your consonants were distinct.

用这种方式唱出舌尖辅音，能帮助你感受正确的舌头运动如何让每个辅音变得容易唱出、容易理解。对着镜子检查自己的舌头运动。听一下浊辅音L、N、D、Z和浊辅音TH。

Singing through the tip consonants in this way helps you feel how the right movement of your tongue makes each consonant easy to sing and easily understood. Watch yourself in the mirror to check the movement of your tongue. Listen for the voiced consonants L, N, D, Z, and the voiced TH.

塑造软腭辅音

Shaping soft palate consonants

要发软腭辅音，舌尖抵住下齿，舌根上抬，触碰软腭，嘴唇微微张开，以适应辅音前后元音的发音。K辅音清音，G和NG辅音浊音。

To shape soft palate consonants, keep the tip of your tongue against your bottom teeth, lift the back of the tongue to touch the soft palate, and shape your lips for the vowel sounds before and after the consonant. The K consonant is unvoiced, and G and NG are voiced.

在表 9-3中塑造软腭辅音时，注意

While shaping the soft palate consonants in Table 9-3, see to it that

• 舌头后部上升，与软腭处的上颚接触，同时舌尖继续接触下门牙。
• The back of your tongue rises to meet the roof of your mouth at your soft palate, while the tip of your tongue continues touching your bottom front teeth.
• 你的嘴唇保持放松并准备发出跟在辅音后面的元音。
• Your lips stay free of tension and ready to make the vowel sound that follows the consonant.

如果您因为英语不是您的母语而无法听清K和NG的发音，请练习唱歌和下沉来感受和听出NG和K之间的区别。NG 是浊音，而K是清音。

If you have trouble with the sounds of K and NG because English isn’t your primary language, practice saying sing and sink to feel and hear the difference between the NG and the K. The NG is voiced and the K is unvoiced.

如果你唱软腭辅音有困难，可以试试这个方法。在最初的几次练习中，发辅音时，舌头中部拱起，触碰硬腭的后缘。这样，辅音就不会卡在喉咙的最深处。当你在发出软腭辅音时，如果能更舒服地保持后部空间开放，您将能够在软腭的正确位置触摸舌头后部。

If you struggle to sing a soft palate consonant, try this. For the first few practice sessions, make the consonant sound with the middle of your tongue arching to touch the back edge of the hard palate. By moving the consonant out of the very back of your throat, the sound won’t get trapped in the back of your mouth. As you become more comfortable with keeping the back space open while making soft palate consonants, you’ll be able to touch the back of the tongue in the right spot on the soft palate.

唱歌时软腭辅音

Singing soft palate consonants

唱软腭辅音，如图9-2所示，让您有机会发出这些辅音的声音，同时练习保持后部空间开放。

Singing the soft palate consonants, such as in Figure 9-2, gives you an opportunity to make the sounds of these consonants and practice keeping the back space open at the same time.

塑造唇形辅音

Shaping lip consonants

唇辅音与舌尖辅音不同（有关这些辅音的详细信息，请参阅本章前面的“发舌尖辅音”部分），因为唇部运动而不是舌尖运动。相似之处在于，你可以移动舌尖和嘴唇，而无需移动下巴。掌握如何在闭上嘴唇时保持口腔内空间的张开，有助于你在发出辅音时继续发出圆润的音色。浊辅音包括B、M和W；清辅音为P和WH 。

Lip consonants are different from tip consonants (see the section, “Making Tip Consonants,” earlier in this chapter for details on these consonants) because the lips move instead of the tip of the tongue. The similarity is that you can move the tip of your tongue and your lips without moving your jaw. Figuring out how to keep the space inside your mouth open as you close your lips helps you continue making those round tones as you articulate a consonant sound. The voiced consonants are B, M, and W; P and WH are unvoiced.

唱歌时唇音

Singing lip consonants

唱唇形辅音（见图9-3）可以让你有机会发出辅音的音，并练习轻松地从元音过渡到辅音。照照镜子，确保下巴稳定，牙齿张开，嘴唇动起来。把自己的歌声录下来，这样你就可以回听并区分浊辅音和清辅音。

Singing the lip consonants (see Figure 9-3) gives you a chance to make the sounds of the consonants and practice moving easily from a vowel to the consonant. Watch yourself in the mirror to make sure that you’re keeping your jaw steady, your teeth open, and your lips moving. Record yourself singing so you can listen back and distinguish between voiced and unvoiced consonants.

组合辅音的塑形

Shaping combination consonants

对于表 9-6中的辅音对，你的

For the consonant pairs in Table 9-6, your

• 舌尖向齿槽嵴移动，舌侧同时触及上侧牙齿和侧牙龈。你会感觉到气流从舌尖和牙龈之间吹过。在CH和J音的开头，舌尖会短暂地触及齿槽嵴。（有关齿槽嵴的更多信息，请参阅本章前面的“舌尖辅音的构成”部分。）
• Tongue’s tip moves toward the alveolar ridge and the sides of your tongue touch the upper side teeth and gums at the side at the same time. You feel air blowing between the tip of your tongue and the gums. The tip of the tongue touches the alveolar ridge momentarily at the beginning of the CH and J sounds. (See the section, “Making Tip Consonants,” earlier in this chapter for more info on the alveolar ridge.)
• 嘴唇应该稍微向前突出。突出幅度要小，动作要快。发ZH和J音时，嘴唇要用到声。SH和CH音不发音。
• Lips should protrude slightly forward. The protrusion is slight and the movement happens quickly. When your lips move for the ZH and J, you use your voice. The SH and CH are unvoiced.

舌头的位置很重要。SH需要你把气吹到牙齿和舌头之间，而CH则是通过将舌尖抵住齿槽嵴来暂时停止气流，然后再吹气。听听第 14 首歌的歌手为你演示。一定要注意 CH 和 Y 的区别。Y是通过移动舌头后部来发的，而CH是用舌尖发的。

The position of the tongue is important. The SH requires you to blow air between your teeth and tongue, whereas you make the CH by momentarily stopping the flow of air by putting the tongue’s tip on the alveolar ridge and then blowing air. Listen to the singers on Track 14 demonstrate for you. Be sure to note the difference between CH and Y. You make Y by moving the back of the tongue, and you make CH with the tip of the tongue.

辅音G有两种发音方式，例如在单词go和George 中。在本章中，我使用辅音G来描述单词 go 中辅音G的发音。我使用辅音J来描述 George中辅音G的发音。

The consonant G can be pronounced two ways, as in the words go and George. I use the consonant G in this chapter to describe the pronunciation of the consonant G in the word go. I use the consonant J to describe the pronunciation for the consonant G in George.

ST和SH经常被误用。例如，street 这个词——它不应该是shtreet。练习一下sh-t和st，这样你就能在你的歌里，以及当你向新朋友介绍你的街道地址时，用正确的方式表达它们。

ST and SH are often mistakenly interchanged. An example is the word street — it shouldn’t be shtreet. Practice sh-t and s-t so you can get it just right in your song and when you give your new friends your street address.

唱歌组合辅音

Singing combination consonants

跟着图9-4中的辅音组合，跟着每个音符下的单词唱一遍。唱完每一个，直到你感觉到从辅音到元音的流畅变化。这样做可以增强你在暂时关闭前部空间的同时，保持后部空间开放的能力。

Sing through the consonant combinations in Figure 9-4, following the words under each note. Sing through each one until you feel the fluid movement from consonant to vowel. Doing so enhances your ability to keep your back space open as you momentarily close the space in front.

用连奏（流畅连贯）的节奏唱出图 9-4中的辅音，并尽量不要提前预料下一个辅音。在跳到下一个音节和辅音之前，给自己一些时间来延长元音。提前预料下一个辅音意味着过早地关闭口腔空间，这会影响你当前正在唱的元音的形状和发音。注意，你必须用嗓子唱出元音ZH，而元音SH是清音。你会感觉到区别，因为SH只是气流，而元音ZH需要你用嗓子发声并移动气流。

Sing through the consonants in Figure 9-4 with a legato (smooth and connected) line, and try not to anticipate the next consonant. Allow yourself time to extend the vowel before jumping to the next syllable and consonant. Anticipating the next consonant means closing down the space in your mouth too early, and that affects the shape and sound of the vowel you’re currently singing. Notice that you have to use your voice to sing through the ZH, but the SH is unvoiced. You’ll feel the difference, because the SH is just flowing air, whereas the ZH requires you to make sound with your voice and move air.

我应该在哪里练习？

Where should I practice?

首要问题在于地点。你的练习场地可以是任何你能够独自一人且能集中注意力的地方。你只需要一个在热身和准备歌曲时能舒适活动的空间。无论你在哪里练习，每周都要抽出一些时间站起来练习几次。

The number-one question concerns location. Your practice space can be anywhere you can be alone and can concentrate. You simply need space to move around comfortably during the warm-up and when you set the scene for your song. Regardless of wherever else you do your practicing, devote some of your time to standing up and practicing several times a week.

练习的最佳时间是什么时候？

What’s the best time to practice?

任何适合你的时间都是最好的。每天安排一个特定的练习时间和时长。如果你在日历上预留出练习时间，你练习的可能性就会更高。许多歌手由于生物钟的原因，晚上练习效率更高。你也可以在午餐时间或下班前或下班后练习。为了最大限度地集中注意力，请在日常练习期间关掉电视、手机和电脑。

Anytime that works for you is best. Schedule a specific time and duration for practicing each day. If you allot time on your calendar to practice, you’re more likely to practice. Many singers practice more efficiently at night because of their body clocks. You can also practice on your lunch hour or right before or after work. To maximize your concentration, turn off the TV, cellphone, and computer during your daily practice time.

每天准备好你的练习场地。如果你需要翻遍整个场地才能找到所有练习用具，那你就浪费了宝贵的唱歌时间。保持井然有序，这样你才能享受创作的乐趣！

Have your practice space set and ready each day. If you have to search the entire place to find all your practice tools, you’re wasting valuable singing time. Stay organized so you can enjoy your time being creative!

我应该练习多长时间？

How long should I practice?

练习时间的长短取决于你的专业水平。对于唱歌新手来说，每天练习15到20分钟就能受益。逐渐增加到每天30到60分钟。你的声音就像身体里的其他肌肉群一样：它会疲劳，需要休息。只要你的声音在休息几个小时后恢复正常，你的练习就走在正确的轨道上了。勤加练习就能进步。

The length of the practice session depends on your level of expertise. Someone who is new to singing can benefit from practicing 15 to 20 minutes a day. Gradually increase your practice time to 30 to 60 minutes per day. Your voice is like any other muscle group in your body: It becomes fatigued and needs rest. As long as your voice is back to normal after a few hours of rest, your practicing is on the right track. Improvement happens with frequent practice.

除了我的声音我还需要什么？

What do I need besides my voice?

当然，你需要用嗓子来练习唱歌。但是，你还需要一些其他工具：

Of course you need your voice to practice your singing. However, you need some other tools as well:

• 键盘：几乎任何新的或二手的电子键盘都可以。你也可以使用电子设备上的键盘应用程序。钢琴也可以，只要音准就行。唱歌不一定要会弹钢琴，但如果你想更好地理解键盘和乐谱的含义，可以买一本布莱克·尼利（Blake Neely）最新版的《钢琴入门》（John Wiley & Sons, Inc.）。
• Keyboard: Just about any new or used electronic keyboard works. You can also use a keyboard app on your electronic device. A piano is fine, too, as long as it’s in tune. You don’t have to know how to play the piano to sing, but if you want to get a better understanding of what keyboards and musical notation are all about, pick up a copy of the most recent edition of Piano For Dummies by Blake Neely (John Wiley & Sons, Inc.).
• 录音设备：录音练习也是监控进度的好方法。录下自己练习时唱的歌，然后倒回去听听音准是否正确，或者元音是否准确。使用数码设备上的录音应用程序就很好。用录音设备进行实验，先录下自己的歌声，然后再听，看看需要多近才能捕捉到自己唱歌的声音。
• Recording device: Recording your practice sessions is a great way to monitor your progress, too. Record yourself singing through the exercises, and then rewind to hear whether you were right on pitch or whether a vowel really was precise. Using a recording app on your digital device will work fine. Experiment with the device by recording yourself and listening back to figure out how close you need to be to capture the sounds of your singing voice.

• 音乐：提升唱歌技巧可以很有趣。请参阅第16章，了解如何选择歌曲。在练习时，我建议你选择一些能够帮助你运用章节中提到的技巧的歌曲，以及一些可以自娱自乐的歌曲。附录A列出了一些歌曲，它们可以锻炼你的不同技巧，例如呼吸协调或音域。

  为身体肌肉和歌唱声部进行热身，有助于增强肌肉的灵活性，并延长练习时间。请参阅以下关于热身的部分，了解一些建议。

• Music: Developing your singing technique can be fun. See Chapter 16 for help choosing a song. For your practice session, I recommend you choose songs to help you apply the technique you read about in the chapters as well as some songs to sing for fun. See Appendix A for a list of songs that work on different aspects of technique such as breath coordination or range.

  Warming up the muscles in your body and singing voice help your muscles feel flexible and help extend your practice session. See the following section on warming up for some suggestions.

• 镜子：镜子对练习非常有帮助。通过照镜子，你可以更好地了解自己唱歌时身体的动作。你可以在第三章（音准）和第九章（辅音）中找到更多关于照镜子练习的技巧。如果照镜子让你感到困惑，可以用手机或平板电脑录下自己的视频，然后回放，以监控你唱歌时的动作。
• Mirror: Mirrors are so helpful for practicing. By watching yourself in the mirror, you become much more aware of how you move your body as you sing. You can find more tips on watching your practice sessions in the mirror in Chapter 3 (alignment) and Chapter 9 (consonants). If watching yourself in the mirror is confusing, video yourself with your cellphone or tablet and play it back to monitor your movements as you sing.
• 日记和铅笔：当你回放练习录音时，在练习日记或乐谱上做笔记。回顾上次练习的笔记可以帮助你记住自己的目标。请参阅本章后面的“选择适合你的练习”部分，了解更多关于使用日记的信息。
• Journal and pencil: As you listen back over the practice session recording, take notes in your practice journal or on your music. Seeing the notes from your last practice session helps you remember your goals. Check out the section, “Picking exercises that work for you,” later in this chapter for more about using a journal.

伸展运动来热身

Stretching to warm up your body

无论一天多么轻松，都要从伸展运动开始你的练习。你需要让整个身体都准备好唱歌，而不仅仅是唱歌时的肌肉。为了让呼吸在唱歌时真正流动，你需要将呼吸与下半身连接起来。我推荐以下伸展运动，从头部开始，逐渐移动到脚趾。记住，在每一个伸展环节，移动时都要保持呼吸。

No matter how easy the day is, start your practice session by stretching out. You want to get your entire body ready to sing, not just your singing muscles. For the breath to really move as you sing, you need to be connected to your lower body. I recommend the following stretching routine, which begins with your head and moves to your toes. For each segment, remember to continue breathing as you move.

1. 摇动全身，释放所有紧张情绪。

   活动一下，直到感觉关节僵硬感消失。用第三章的练习来改善你的姿势，释放压力。

2. Shake out any tension in your entire body.

   Wiggle around until you feel the stiffness in your joints melting away. Use the exercises in Chapter 3 to help your posture and to release tension.

3. 把头向前放。

   缓慢地将头向胸部下沉，并吸气。呼气时，让头部再下沉一点。重复几次，每次都让头部下沉得更深，以拉伸颈部肌肉。吸气后，将头部抬回平衡位置。

4. Release your head forward.

   Gently drop your head toward your chest at a slow pace and inhale. As you exhale, allow your head to drop a little farther. Repeat this several times, allowing the head to drop farther each time to stretch the neck muscles. Inhale and lift your head back to its balanced position.

5. 动动你的头。

   把头向左转，再向右转。转动头部，从左侧开始，将下巴靠近胸部的位置向右侧转动。除非你以前做过这种动作，否则不要把头向后转。你的颈椎可能无法很好地适应头部向后转动的压力。

6. Move your head.

   Turn your head to the left and to the right. Roll your head around, starting from the left side and rolling your chin near your chest to the right side. Don’t roll your head back unless you’ve worked with this kind of movement before. The vertebrae in your neck may not respond well to pressure from your head rolling backward.

7. 伸长脖子。

   轻轻地将左耳垂向左肩，暂停。吸气，呼气时，将头稍微向肩膀方向垂下。重复几次，然后移到右肩重复同样的动作。

8. Stretch your neck.

   Gently drop your left ear toward your left shoulder and pause. Inhale and, as you exhale, drop your head a little farther toward your shoulder. Repeat several times, and then repeat the sequence over your right shoulder.

9. 活动脸部的所有肌肉。

   收紧它们然后放松，感受脸上的能量流动。

10. Move all the muscles in your face.

    Tighten them and then release to feel the flow of energy in your face.

11. 把舌头伸进伸出。

    将其尽可能地伸出，然后再移回。您也可以舔嘴唇——用舌头在嘴外面画圈，以拉伸舌头的肌肉。

12. Move your tongue in and out.

    Stick it out as far as possible and then move it back in. You can also lick your lips — move your tongue in a circle around the outside of your mouth to stretch the muscles in your tongue.

13. 活动一下肩膀。

    抬起肩膀，然后向下压。肩膀向前，然后向后。肩膀朝一个方向画圈，然后反向画圈。保持胸部稳定并打开。

14. Work your shoulders.

    Lift your shoulders and then push them down. Move your shoulders forward and then back. Make circles with shoulders in one direction, and then reverse. Keep your chest steady and open.

15. 以圆圈方式摆动一只手臂（然后是另一只手臂）。

    挥杆时，扭动手指和手腕，让血液顺着手臂流下。小心，小心家具。换另一只手臂重复此动作。

16. Swing one arm (and then the other) in circles.

    As you swing, wiggle your fingers and wrist to get the blood flowing all the way down your arm. Be careful; watch out for furniture. Repeat with the other arm.

17. 伸展你的身体侧面。

    左臂举过头顶，身体向右倾斜。倾斜时，感受左侧肋骨之间的肌肉打开。反向：抬起右臂，伸展右侧身体。

18. Stretch your side.

    Lift your left arm over your head and lean to the right. As you lean, feel the muscles between your ribs opening on your left side. Reverse: Lift your right arm and stretch your right side.

19. 摆动臀部来放松紧张感。

    很多人臀部都会紧张。现在不用太用力，放松一下。让臀部前后摆动，也可以画圈。

20. Swing those hips around to loosen that tension.

    Many people hold tension in their hips. You don’t have to be tough now. Let ’em loose. Let the hips rock back to front, as well as around in circles.

21. 热身你的腿。

    踮起脚尖，然后放回地面。单腿站立，轻轻地将另一条腿向外甩动，并伸展脚踝。反向运动，让另一条腿也跟着动起来。扩大站姿，将臀部向左伸展，拉伸右腿内侧。换右侧重复。

22. Warm up your legs.

    Stand on your toes and then lower your feet back to the floor. Stand on one leg and shake out the other and gently stretch your ankle. Reverse to get the other leg in motion. Widen your stance and stretch your hip to the left to stretch the inside of the right leg. Repeat on the right side.

23. 深吸一口气，感受能量在体内流动。
24. Take a nice deep breath and feel the energy flowing in your body.

热身时让血液循环起来有助于你专注于手头的任务。如果你在将呼吸与歌曲联系起来方面有困难，请尝试在热身或练习时多进行一些身体活动。连接身体的一种方法是投篮球老奶奶投篮。弯曲膝盖，将手臂放在两腿之间，然后用双手将看不见的球向上抛。这个动作可以让你与下半身联系起来，并真正帮助你连接能量来唱出更高的音符。如果你投一个普通的罚球，你会抬起身体来唱出音符。我希望你“想着向下”——向下释放你的双腿而不是向上推——来唱出音符。有关释放身体和收紧双腿的更多信息，请参阅第 3 章。你可以使用任意数量的不同身体动作。

Getting your blood pumping while warming up helps you focus on your task at hand. If you’re having trouble connecting your breath to your song, try being more physical in your warm-up or practice session. One way to connect your body is to shoot basketball granny shots. Bend your knees, drop your arms between your legs, and throw the invisible ball up with two hands. This motion gets you connected to your lower body and really helps you connect energy to sing higher notes. If you shoot a regular free throw, you lift your body up to sing the note. I want you to “think down” — releasing down into your legs instead of pushing up — to sing the notes. See Chapter 3 for more information about releasing down into the body and engaging your legs. You can use any number of different physical movements.

记住，动作要流畅。任何让你身体抽搐的动作，也会影响歌声。做扭体操比开合跳更好。

Keep in mind that you want fluid motion. Any movements that cause you to jerk your body are going to jerk the singing voice also. Doin’ the twist is better than doing jumping jacks.

暖嗓

Warming up your voice

如果你今天下午要参加一场比赛，你会直接到场开始跑步吗？我表示怀疑。你会花几周甚至几个月的时间来为这场重要的比赛做准备，而且在比赛前，你会热身。这对于唱歌来说可能听起来有点奇怪，但请记住，你的歌喉和身体的其他部位一样，是由肌肉组成的。这些肌肉需要特定的热身。棒球运动员在大赛前会花时间进行拉伸，而你在练习之前也需要拉伸你的歌喉。

If you were scheduled to run a race this afternoon, would you just show up and start running? I doubt it. You’d work for weeks or months to prepare your body for the big event, and just before the race, you’d warm up your body. That may sound odd for singing, but remember, your singing voice is made up of muscles just like any other part of your body. These muscles need a specific type of warm-up. Baseball players spend time stretching before the big game, and you need to stretch your singing voice before practicing.

练习和热身有什么区别？热身让你的身体为练习做好准备。热身结束和练习开始之间的差别可能很小。把热身想象成练习的开始。你在热身中所做的一切都会引导你在练习中付出的努力。

What’s the difference between practicing and warming up? A warm-up gets your body ready for practicing. The difference between the end of the warm-up and the start of the practice may be only slight. Think of the warm-up as the beginning of your practice session. Everything that you do in the warm-up leads you to the work you do in your practice session.

发声热身包括发出声音来唤醒你的嗓子，为歌唱做好准备。一些不错的热身运动包括：

Vocal warm-ups include making sounds to get your singing voice awake and ready to work out. Some good choices of warm-ups include the following:

• 哼唱类似第 2 轨的简单旋律（参见第 4 章）
• Humming easy patterns like the one on Track 2 (see Chapter 4)
• 叹气或做声乐滑音（参见第 5 章和第 6章）
• Sighing or doing vocal slides (see Chapters 5 and 6)
• 唇颤音（参见第 4 章）或舌颤音（参见第 6 章）
• Doing lip trills (see Chapter 4) or tongue trills (see Chapter 6)

良好热身的基本要素是锻炼身体、血液和呼吸：让你的身体动起来，让血液循环起来，让你的呼吸准备好，尽情释放。这三个要素能让你做好练习的心理准备。

The basic ingredients of a good warm-up work the body, blood, and breath: You get your body moving, your blood pumping, and your breath ready to move out and sing. These three ingredients get you mentally prepared to practice.

尝试不同的姿势可以让你感受整个身体，以及呼吸的律动。唱歌时，不必总是笔直地站着——有时可以坐着、蹲着、躺着、弯腰，或者创造其他姿势，探索呼吸时身体的律动。尝试用这些不同的姿势唱歌，然后将身体的感受与站直唱歌时的感觉进行比较。在尝试的过程中，要注意身体可能出现的任何紧张感。如果你最终站起来时感到一时困惑，可以回顾一下第三章中的体位调整练习。

Experimenting with different postures allows you to feel your entire body, as well as the movement of the breath. Don’t always stand erect to sing — sometimes sit, squat, lie down, bend over, or create other positions that allow you to explore what’s moving in your body as you breathe. Try singing in these various positions, and then compare the feelings in your body to the feelings when you’re standing upright and singing. Watch out for any tension that may creep into your body while you’re experimenting. If you’re momentarily confused when you finally do stand up, review the alignment exercises in Chapter 3.

不要让任何人的评论阻碍你唱歌。每个人都能通过练习唱好歌。召开一次家庭会议，向家人解释，你不会容忍任何关于你唱歌的粗俗评论。告诉家人，他们认为的玩笑是绝对不可接受的。要强硬！不要留情面！教育你的朋友和家人尊重你的练习时间。

Don’t let anyone’s comments discourage you from singing. Everyone is capable of singing well with practice. Have a family meeting to explain that you won’t tolerate tacky comments about your singing. Inform family members that what they think of as joking is really unacceptable. Be tough! Take no prisoners! Train your friends and family to respect your practice time.

选择适合你的练习

Picking exercises that work for you

第 3 章中的姿势练习提供了一些有趣的方式来塑造良好的姿势。阅读完第 3 章后，选择你最感兴趣的练习并将它们写在你的练习日志中。练习日志是一个笔记本或日志（纸质、手机或平板电脑或电脑上），你可以用来记录练习过程。在每一页上，列出日期和你需要进行的练习。这是你练习的待办事项清单。练习结束后，写下你的发现——什么有效，什么困难——以及关于下次练习要包含哪些内容的任何想法。进行一周的练习后，评估你的进度。你可能已经准备好添加更多姿势练习了。翻到第 3 章，找到更多针对姿势其他方面的练习，并将它们添加到你的第二周练习日志中。你可以对每一章应用相同的过程。找到一些练习来开始你的技术之旅，并随着你的进步每周添加新的练习。

The exercises for posture in Chapter 3 offer fun ways to create great posture. After reading Chapter 3, choose the exercises that appeal the most to you and write them in your practice journal. A practice journal is a notebook or journal (on paper, on your phone or tablet, or on your computer) that you use to take notes on your practice sessions. On each page, list the date and what exercise you need to work on. This is your to-do list for your practice session. After your practice session, write down what you discovered — what worked and what was difficult — and any thoughts about what to include in the next practice session. After working an exercise for a week, evaluate your progress. You may be ready to add more exercises for posture. Flip to Chapter 3 and find more exercises that work on another aspect of posture, and add them to your practice journal for week two. You can apply this same process for each chapter. Find exercises to begin your technical journey and add new exercises weekly as you progress.

选择唱歌练习似乎比姿势练习更难。虽然你可以选择任何练习来练习，但你可能会发现从从每章的开头开始，寻找适合你水平的练习。如果你从未上过任何课程，或者没有任何唱歌经验，那么你来对地方了。欢迎！我撰写这些章节时考虑到了你的学习进度。对唱歌有一定了解的读者可以从章节中任何适合自己水平的点开始学习。如果你几年没有进行过任何唱歌训练，可以从章节开头开始，然后加快学习速度来复习你的技能。

Picking singing exercises may seem more difficult than posture exercises. Although you can pick any exercise to practice, you may find it easier to start at the beginning of a chapter and look for the exercises that start at your level. If you’ve never had any lessons or any experience singing, then you’re at the right place. Welcome! I wrote the chapters with your progression in mind. Readers who have some knowledge of singing may start at any point in the chapter that suits their level of expertise. If you haven’t done any singing training in a few years, start at the beginning of the chapter and move at a faster pace to refresh your skills.

进行唱歌练习时请考虑以下要点：

Consider these big points when you’re working on singing exercises:

• 确保您已阅读说明足够多次，以便您可以完成练习并专注于您的任务。
• Make sure that you read the instructions enough times so you can work through the exercise and focus on your task.
• 如果练习内容略高于你的专业水平，那么这个练习就很合适。如果你从未接受过唱歌训练，一开始可能会感到不知所措。然而，随着练习的深入，这种感觉会逐渐消退，因为你会逐渐理解相关术语——这个练习最终会成为你的第二天性。如果一周后练习变得更容易，那么你就走在了正确的道路上。
• The exercise is appropriate if it’s just above your level of expertise. If you’ve never had singing training, you may feel overwhelmed at first. However, this feeling will subside with practice because you’ll gradually understand the terminology — the exercise will eventually become second nature to you. If the exercise gets easier after a week, you’re on the right track.
• 经常重读练习的说明和说明。练习一周后，当你再次阅读说明时，你可能会发现自己忘记了一些内容。
• Reread the directions and instructions for the exercises often. After working an exercise for a week, you may find something that you forgot when you read the instructions again.
• 如果某个练习让你感到困惑，可以请朋友帮你解释一下，或者和你一起练习。观察其他歌手的演唱能帮你学到很多技巧。口头向别人解释练习有助于你清晰地表达自己的想法。
• If an exercise is confusing, ask a friend to interpret it or practice it with you. Watching other singers helps you discover a great deal about technique. Having to verbally explain an exercise to someone else helps you articulate your ideas.
• 关于提升歌唱技巧，我能给出的最重要的建议是，这需要自律。真正需要你花时间练习和提升技巧。本书中有很多工具可以帮助你，但这些工具需要有人来使用。安排好时间，选择好练习内容，好好享受吧！
• The biggest piece of advice I can offer about improving your singing technique is that it requires discipline. It’s really up to you to find the time to practice and improve your technique. You have many tools in this book to help you, but the tools need a user. Schedule the time, organize your session by choosing the exercises, and have a blast!

分解

Breaking it down

在任何练习中，你都需要热身，让你的身体和大脑做好专注唱歌的准备。热身之后，练习各个技巧方面：姿势、呼吸、元音和辅音的发音、共鸣和音色的产生。选择适合你音域的练习，练习能提升听力的歌唱模式，并寻找一些能将表演和演唱相结合的歌曲。将你的练习分成几个特定的​​部分进行练习，可以让你在每个方面都有所提升，而不会因为沮丧而把歌曲扔到窗外。

In any given practice session, you need a warm-up to get your body and brain ready to focus and sing. Following the warm-up, work on each area of technique: posture, breath, articulation of vowels and consonants, resonance, and tone production. Choose exercises that work your range, sing through patterns that develop your ear, and find songs that combine acting and singing. Breaking your session into specific areas to work on allows you to grow in each of these areas without chucking your music out the window in frustration.

每次练习也要设定目标。以下是每天练习的示例目标：

Also set goals for each practice session. Consider these sample goals for each day’s practice:

星期一和星期二：

Monday and Tuesday:

• 探索两种适用于快速吸气和长呼气的呼吸练习，然后将该练习应用到您的歌曲中。
• Explore two breathing exercises that work on quick inhalation and long exhalation, and then apply that work to your song.
• 确定三个可以在练习中使用的元音，然后将这些练习应用到你的歌曲中。
• Identify three vowels that you can work in exercises, and then apply that work to your song.
• 选择三个可以与元音组合的辅音，然后将该组合应用到您的歌曲中。
• Select three consonants that you can work in combination with the vowels, and then apply that work to your song.

星期三和星期四：

Wednesday and Thursday:

• 回顾一下这两项呼吸练习。如果其中一项练习进展顺利，就增加第三项练习。
• Review the two breathing exercises. If one of those exercises is going well, add a third exercise.
• 用三个元音唱一遍周一和周二的练习。如果你不确定形状，可以复习一下第八章练习组的解释。如果其中一个元音的练习进展顺利，就添加第四个元音。
• Sing through the exercises from Monday and Tuesday, using the three vowels. If you aren’t sure of the shape, review the explanation from the group of exercises in Chapter 8. If your work on one of the vowels is going well, add a fourth vowel.
• 复习周一和周二练习的三个辅音的动作。不断练习，直到它成为你的习惯。如果你练习这些辅音的进展顺利，就再加一个第四个。
• Review the motion of the three consonants from Monday and Tuesday. Work that motion of the consonants until it’s second nature. If your work on those consonants is going well, add a fourth.

周五和周六：

Friday and Saturday:

• 回顾过去四天的所有练习。制作一份新的清单，用于添加练习。
• Review all exercises from the past four days. Make a new checklist for adding exercises.
• 将本周末要使用的新元音或辅音添加到列表底部。
• Add to the bottom of the list new vowels or consonants to work this weekend.

星期日：

Sunday:

• 休息。
• Rest.
• 开始列出下周要进行的练习的待办事项清单。
• Start your to-do list for the practicing you’ll do in the coming week.

您可以选择任何一天休息，但请确保每周休息一天不练习。

You can choose any day to rest, but be sure to take one day off from practicing each week.

录制自己的视频

Recording yourself

每天录制练习过程，监测进步。第一次听自己的录音时，你可能会不太喜欢。这是非常正常的反应。表演艺术家在录音室投入巨资，但他们在家录制的声音可能并不完美。第三次听到自己的录音时，你就会习惯这种声音。聆听细节，例如元音的精准度。它听起来像“啊”还是“啊”？这两个元音很相似，但你需要能够在练习和歌词中区分它们。录下自己说“啊”和“啊”的声音，这样你就能弄清楚如何感受和听到它们之间的区别。然后回过头再听录音。你还可以聆听无声的吸气（没有喘气）、音域之间的平滑过渡、你选择的用于在歌曲中创造声乐旅程的变化的声音，或动态变化。

Record your practice session each day to monitor improvement. The first time you listen to a recording of yourself, you may not like it. That’s a perfectly normal reaction. Performing artists spend big bucks in the recording studio, but they may not sound so perfect at home. The third time you hear yourself on a recording, you’ll be used to the sound. Listen for the details, such as the precision of the vowel. Does it sound like an ah or uh? The two vowels are similar, but you need to be able to distinguish them in the exercise and in the text of the song. Record yourself saying ah and uh so that you figure out how to feel and hear the difference. Then go back and listen to the recording. You can also listen for silent inhalation (no gasping for air), smooth transitions between registers, varied sounds that you choose to create a vocal journey in your song, or dynamic variations.

如果你手边有录像设备，可以定期录下自己的视频，观察自己的肢体语言。（有关肢体语言的信息，请参阅第3章和第18章。）连续观看三遍视频，熟悉视频中的声音。你甚至可以选择静音模式观看，以便真正专注于自己的肢体动作。用手机、平板电脑或笔记本电脑录制的数字视频通常质量很好。唱高音时，你可能需要反复尝试找到合适的距离。如果距离太近，声音可能会失真，所以要探索距离设备的最佳距离，以获得最佳的练习录音效果。

If you have a video-recording device handy, video record yourself regularly to check out your body language. (See Chapter 3 and Chapter 18 for information on body language.) Watch the video three times in a row, to get used to your sound on video. You can even watch the video without sound to really focus on your body movement. Digital video quality is usually very good from your cellphone, tablet, or laptop. You may need to experiment to find the right distance when you sing the higher pitches. If you’re too close, the sound may distort so explore the distance from the device to get the best recording of your practice session.

应用信息和练习

Applying information and exercises

当你阅读书中每个练习的内容时，不妨尝试一下。当你尝试了一周后，你就可以决定它是否太难了，不适合做。大多数情况下，你只有尝试几次才能看到练习的好处。只有走出舒适区，你才会知道自己的能力。有些练习需要一些时间才能掌握，而有些练习只需要几天就能掌握。第一次尝试练习时，你可能会想快速浏览一下说明，因为你想测试一下。我完全理解。确保你稍后再回过头来，阅读完整的说明，并完成每个步骤。你跳过的步骤可能是练习中最重要的步骤。

As you read about each exercise in the book, give it a whirl. When you’ve tried the exercise for a week, then you can decide whether it’s too crazy to do. Most of the time, you can’t see the benefit of an exercise until you’ve tried it a few times. You won’t know what you’re capable of until you move out of your comfort zone. Mastering some of the exercises takes some time, whereas other exercises take only a few days to master. The first time you try an exercise, you may be tempted to just skim through the explanation, because you want to test it out. I totally understand. Make sure that you go back later, read the entire explanation, and work through each step. The step you skip may be the most important one of the exercise.

对于每个重要概念，我都提供了几个练习。对于视觉型学习者，我提供了一个可视化练习。动觉型学习者（通过运动学习）可以从运动描述中受益。听觉型学习者（最擅长用耳朵学习的人）在练习时会被告知要听什么。如果你不知道自己喜欢哪种，那就全部尝试一下吧！

For each big concept, I offer several exercises. For those of you who are visual, I offer a visualization exercise. Kinesthetic types (those who learn through movement) can benefit from the movement description. Aural types (folks who learn best using their ears) will be told what to listen to as you practice the exercise. If you don’t know which you prefer, try them all!

使用在线轨道练习

Using the online tracks to practice exercises

本书的在线曲目www.dummies.com/go/singing3e包含大量精彩的练习，循序渐进，难度递增。如果您是资深歌手，可以跳过一些后期练习。如果您是初学者，我建议您从本书的开头开始，逐步完成每一章。这可能需要一些时间，但您会从中获得很多乐趣。请将曲目放在您的练习区方便取用的地方。练习按难度排序。

This book’s online tracks at www.dummies.com/go/singing3e have so many wonderful exercises that progress and gradually get harder. If you’re a more advanced singer, skip to some of the later exercises. If you’re a beginner, I recommend that you start at the beginning of the book and work your way through each chapter. It may take a while, but you’ll have plenty of fun along the way. Keep the tracks handy in your practice space. The exercises go in order of difficulty.

这些曲目可能看起来很枯燥，因为它们没有太多花哨的元素，但钢琴和人声的简洁性让你可以完全专注于你的技巧。当你的技巧真正达到巅峰时，尽情播放卡拉OK歌曲，让你的朋友们惊叹不已。在那之前，利用这些曲目稳步提升你的技巧。

The tracks may seem boring because they don’t have many bells and whistles, but the simplicity of the piano and voices allows you to completely focus on your technique. When your technique is really rocking, whip out the Karaoke songs and wow your friends. Until then, use the tracks to steadily work on your technique.

在曲目中，你可以听到各种类型的歌手，从说唱歌手、流行歌手、音乐剧歌手、古典歌手，到高音歌手，以及各个年龄段、不同经验水平、拥有不同嗓音类型的歌手。大多数歌手都是我的学生，还有一些同事，他们可以在曲目中创造出特定的声音供你欣赏。我用书中的练习来训练从初学者到最终获得格莱美奖的歌手。

On the tracks, you hear many types of singers from a rapper, pop singers, musical theater and classical singers, belters, and singers of all ages and experience levels with different voice types. The majority of the singers were my students, and a few were colleagues that could made specific sounds for you to hear on the tracks. I used the exercises in the book to train beginners all the way up to singers who went on to win Grammy Awards.

你可以在曲目中听到不同类型的歌手演唱各种酷炫的声音。我介绍这些歌手是为了让你知道，通过练习可以提升你的演唱技巧。你在曲目中听到的声音，是普通歌手练习时发出的声音，无论他们演唱什么风格的音乐。

You can hear these different types of singers making all kinds of cool sounds on the tracks. I tell you about the singers so you know that you can develop your technique with practice. The sounds you hear on the tracks are what normal singers sound like when they practice regardless of what style of music they perform.

注意你的中音范围

Noting your middle voice range

无论你是谁，你的中声与胸声和头声的关系都是一样的。但你的中声如何运作、何时运作以及需要注意哪些过渡，都取决于你是女性还是男性。

The relationship of your middle voice to chest and head voice is the same, no matter who you are. But how your middle voice works, when it works, and what transitions to watch out for all depend on whether you’re a woman or a man.

图 11-1显示了女性中声部的平均音域。一开始，你的中声部可能会比较弱，因为你要努力摸索如何在不过渡到头声或胸声的情况下达到这些音色。根据歌曲的不同，你可以把中声部调到你想要的最低点。如果你的声音在极低的音符上显得过于模糊或无力，你可能需要过渡到胸声。本章中的练习可以帮助你了解如何以及何时进行这种过渡。

Figure 11-1 shows you the average female middle voice range. In the beginning, your middle voice may be weak as you try to figure out how to reach these notes without transitioning to head or chest voice. Depending on the song, you can take your middle voice as low as you want. If your voice gets too fuzzy or weak on the really low notes, you may need to transition into chest voice. The exercises in this chapter help you figure out how and when to make that transition.

图 11-2显示了男声的平均中声区。（男高音是例外，他们可以过渡到高于图 11-2中音域的中声。）男声的中声区不如女声宽广；当你进入这个音域时，你可能感觉不到很大的变化。因此，了解你的中声感觉很重要，尤其是从高音或低音过渡的时候。你的中声没有胸腔共鸣那么厚重，也不像头声那样轻盈旋转；它是一种介于两者之间的声音和感觉，在你的嘴和喉咙周围振动。如果你试图从底部向上推一个沉重的声音，你可能需要更长的时间才能牢牢控制高音。在本章中，你将有机会锻炼你的声音，以便在必要时轻松保持中声。

Figure 11-2 shows you the average male middle voice range. (Exceptions are tenors who may transition into middle voice higher than the range in Figure 11-2.) The men’s middle voice range isn’t as large as the women’s range; you may not notice a huge change when you enter this range. So understanding how your middle voice feels is important, especially when you transition from high notes or low notes. Your middle voice is less thick than chest voice and not light and spinning like head voice; it’s a sound and sensation that’s in between, vibrating around your mouth and throat. If you try to push up a heavy sound from the bottom, it may take you longer to gain secure control over your high notes. You get an opportunity in this chapter to work out your voice so you can easily maintain middle voice when necessary.

用中声唱歌

Singing in middle voice

以下练习将帮助你练习中声部。跟随在线曲目练习www.dummies.com/go/singingfd3e，感受你的中声部位置以及用中声部唱歌的感觉。练习中声部时，想象一下直接用力唱歌。胸腔共鸣时，感觉更重，就像你把一个加重的声音拉高或推高，而不是直接用力。头腔共鸣时，感觉更轻，就像你把音色放低或放低。中声部的共振振动低于头腔共鸣，但高于胸腔共鸣。如果你有疑问，可以用胸腔共鸣或头腔共鸣来感受差异。

The following exercises give you a chance to work your middle voice by itself. Follow along with the online tracks at www.dummies.com/go/singingfd3e and get a feel for where your middle voice is and how it feels to sing in middle voice. For middle voice, think of singing straight out. In chest voice, the sensations are heavier as if you pull up or push up a weighted sound instead of coming straight out. For head voice, the sensation is lighter as if coming down to the note. The vibrations of resonance for middle voice are lower than head voice but higher than chest voice. If you’re in doubt, sing the pattern in chest or head voice to feel the difference.

在这首曲目中，聆听歌手演唱图11-3中的音型。你听到的音是中声部。使用下面列出的元音来帮助你找到你的中声部音。

On this track, listen to the singers sing the pattern in Figure 11-3. The sound you hear is middle voice. Use the vowels listed underneath to help you find your middle voice sound.

• 男士们：男歌手的中声音域远不如女歌手的中声音域宽。我设计这个练习时就考虑到了女声。跟着曲目中的男声一起唱，但要注意，如果你把这个模式降低一个八度，你就是从中声过渡到胸腔共鸣了。
• Guys: Middle voice for a male singer isn’t nearly as wide a range as the middle voice for a female. I designed this exercise with the female voice in mind. Sing along with the male voice on the track, but know that you’re moving from middle voice to chest voice if you sing the pattern down one octave.
• 娃娃： 图 11-3是专门为您的中等声音范围设计的。
• Dolls: Figure 11-3 was designed specifically with your middle voice range in mind.

图 11-4显示了一种模式，它可以帮助您通过逐步向上达到中间语态的顶部来探索中间语态。

Figure 11-4 shows a pattern that helps you explore your middle voice by gradually working your way up to the top of your middle voice.

• 男士们：我设计这个练习时考虑到了女声。男声会跟着唱，这样你们加入时就知道该怎么做了。这个模式从你的中声部下方开始，逐渐过渡到中声部。听听男声唱这个模式，这样你就能了解男声听起来是什么样子了。注意，在这个模式的前几次重复中，胸腔共鸣和中声部音符的感觉差别很小。随着中声部音色的升高，你会感觉到共振频率的升高。
• Guys: I designed this exercise with the female voice in mind. A male voice sings along so you guys know what to do when you join in. This pattern starts just below your middle voice but gradually works its way into middle voice. Listen to the male voice sing the pattern for you so you know what the male voice sounds like. Notice that the difference in feeling between the notes in chest voice and middle voice is only slight in the first few repetitions of this pattern. You feel the vibrations of resonance move higher as you ascend in your middle voice.
• 娃娃：女声会在线上音轨上为你演示这些声音，这样你就能听到女声中声的音色。这个节奏型特意从你的中声部低声部开始。注意随着音色的升高，振动声部会逐渐升高。你可以把这个节奏型唱到中声部的最高音。
• Dolls: The female voice demonstrates the sounds for you on the online tracks so you can hear the sound of a female middle voice. This pattern purposely starts low in your middle voice. Notice how the vibrations move higher as you ascend in pitch. You sing the pattern to the top of your middle voice.

图 11-5中的音型特别适合男声中声区。女士们，如果你们唱的音型比图中所示高一个八度，你们就能在演唱这个音型时练习你们的中声。在在线音轨中，你们可以听到一位男歌手用他的中声示范这个音型。注意，随着音色升高，他试图让声音变轻，而不是变重。

The pattern in Figure 11-5 specifically works the male middle voice range. Ladies, you can work your middle voice when singing this pattern if you sing the pattern one octave higher than what’s written in the figure. On the online tracks, you hear a male singer demonstrate the pattern using his middle voice. Notice that as he gets higher in pitch, he attempts to lighten the sound instead of making it heavier.

• 男士们：你的起始音是钢琴弹奏的第一个音符。音型会逐渐过渡到你的中音区。为了减轻上升过程中的紧张感，你可以打开喉咙，感受振动在更高处的移动。
• Guys: Your starting note is the first note that the piano plays. The pattern gradually moves through your middle voice range. To lighten the sensation as you ascend, open the space in your throat and feel the vibrations moving higher.
• 娃娃：虽然图 11-5中的节奏型写得比原唱低了一个八度，但为了练习你的中声，请比原唱高一个八度。聆听钢琴演奏第二个音符，也就是你用来开始这个节奏型的音符。这个节奏型也能练习你的中声，但它的写法与图 11-3和11-4中的节奏型不同，以便男孩子们能够理解他们的中声从哪里开始。
• Dolls: Even though the pattern in Figure 11-5 is written down an octave, sing the pattern an octave higher than written to work your middle voice. Listen to the piano play the second note, which is the note you use to start this pattern. This pattern also works your middle voice, but it’s written out differently than the patterns in Figures 11-3 and 11-4 so that the men can understand where their middle voice starts.

听听男歌手用中声部演示的图11-6中的音型。声音比胸声部轻，但不像头声部那么高或轻。

Listen as the male singer demonstrates the pattern in Figure 11-6 in his middle voice. The sound is lighter than chest voice, but not as high or light as head voice.

• 男士们：这个节奏型正好位于你的中音区。注意一下男声部分，因为歌手一开始就用中音稳稳地唱出音符。开始这个节奏型之前，你需要打开口腔和喉咙后部的空间，并深吸一口气。
• Guys: This pattern sits right in your middle voice range. Notice how the male voice sounds as the singer starts the note solidly in his middle voice. You’ll want to open the space in the back of your mouth and throat and take a breath before you begin the pattern.
• 娃娃：如果你唱的这个节奏型比页面上写的高一个八度，那么它就在你的中音范围内。像男孩们一样，使用节奏型下面列出的元音。
• Dolls: This pattern is in your middle voice range if you sing the pattern one octave higher than what’s written on the page. Use the vowel listed underneath the pattern, just as the guys do.

集中于胸腔共鸣音域

Zeroing in on your chest voice range

用胸腔声部唱歌会让人感觉非常震撼。但是，你必须公平地对待你的中音，不要让胸腔声部过早占据主导地位。探索你的音域，这样你就知道什么时候过渡到胸腔声部才算太早。

Singing in chest voice can be such a powerful feeling. However, you have to be fair to your middle voice and not let chest voice take over too soon. Explore your range so you know how soon is too soon to transition to chest voice.

在图 11-7中，你可以看到女性胸声的平均音域。胸声是女性声音中较强的部分——通常比中声强——你可能需要加强你的中声。你需要了解你的胸声音域。如果你把胸声音色得太高，你的中声就会被削弱。请记住，您随时可以提前（但最好不要晚于图 11-7中给出的范围）切换出胸腔共鸣。

In Figure 11-7, you can see the average female chest voice range. Chest voice is a strong part of the female voice — often stronger than the middle voice — and you may want to strengthen your middle voice. You need to know your chest voice range. If you take chest voice too high, you can weaken your middle voice. Remember that you can always switch out of chest voice sooner, but preferably not later, than the range given in Figure 11-7.

图 11-8显示了男性胸腔声音的平均音域。大多数男性说话时都用胸腔声音，所以他们通常已经拥有很强的胸腔声音。如果你觉得自己的胸腔声音比较弱，可以尝试提升自己的胸腔声音，并探索胸腔声音和中音之间的区别。

Figure 11-8 shows the average range of chest voice for men. Most men speak in chest voice, so they often already have a strong chest voice. You can develop yours if you think it’s weak, and explore the difference between your chest voice and middle voice.

感受你的胸腔共鸣

Feeling your chest voice

你可能已经知道胸腔共鸣音是什么了（如果不知道，请参阅本章前面的“聚焦你的胸腔共鸣音域”部分），但你可能仍然不确定它到底是什么。最好的辨别方法是去感受。尝试以下一些练习，感受胸腔共鸣音的振动。

You may already know what’s supposed to be your chest voice (if not, see the section “Zeroing in on your chest voice range,” earlier in this chapter), but maybe you still aren’t sure what it actually is. The best way to tell is to feel it. Try some of the following exercises so you can feel those chest voice vibrations.

图 11-9中的模式让你第一次有机会找到自己的胸腔共鸣。聆听曲目中歌手的演唱，感受他们用胸腔共鸣发出的声音。注意，他们的声音饱满厚重，听起来像是从身体低处升起。识别你身体的感觉，并尝试感受唱歌时的震动。

The pattern in Figure 11-9 gives you your first opportunity to find your chest voice. Listen to the singers on the track to hear the sounds they make in chest voice. Notice that the sound is full and thick and it feels like the sounds rise up from low in the body. Identify the sensations in your body and try to feel the vibrations as you sing.

• 男士们：这个练习故意调得很低。有些男士唱歌很低沉，我想试试你的嗓子能不能唱出低音。即使你唱不出来，随着时间的推移，你可能会发现音色会越来越强。有些男高音可能唱不出来，因为它太低了。（更多关于男高音音域的信息，请参阅第二章。）多试几次——如果还是太低，可以在本章里找一些不那么低的练习，或者把音色提高一个八度，重复几次。你的起始音是钢琴弹奏的第一个音符。
• Guys: This exercise is purposely really low. Some men can sing low, and I want you to see whether your voice can sing low notes. Even if you can’t, with time you may find that the notes get stronger. Some tenors may not be able to sing this pattern because it’s so low. (See Chapter 2 for more information on the tenor range.) Try it several times — if it’s just too low, find other patterns in the chapter that aren’t quite so low, or sing up an octave for a few repetitions. Your starting note is the first note that the piano plays.
• 娃娃：最初几次重复对你来说比较低。有些女生唱得比较低，所以这个节奏型可以让你有机会看看自己能用胸腔共鸣唱多低。随着练习，你会发现节奏型会逐渐变得容易，而且你的低音也会更有力量。钢琴弹奏的第二个音符就是这个节奏型的起始音。
• Dolls: The first couple of repetitions are low for you. Some women can sing quite low, so the pattern gives you the opportunity to see how low you can sing in chest voice. With practice, you may find that the patterns gradually get easier and that you gain some strength on lower notes. The second note that the piano plays is your starting note for this pattern.

图 11-10中的节奏型以开元音 ah 开头，帮助你从更浑厚的胸腔共鸣开始。你可以在唱这个节奏型的整个过程中一直保持胸腔共鸣。

The pattern in Figure 11-10 begins on ah, an open vowel, to help you start with a thicker chest voice sound. You can stay in chest voice the entire time you sing this pattern.

• 男士们：先生们，请按照图 11-10中的节奏，比纸上写的低一个八度唱一遍。您可以听到音轨上的男声为您示范。节奏从低到高逐渐升高。您可以继续练习，自己提高音色。如果您发现该模式对您来说太低，请按照页面上的写法唱出来（提高八度）或等到该模式对您来说足够高。
• Guys: Gentlemen, sing the pattern in Figure 11-10 down an octave from what’s written on the page. You can hear the male voice on the track demonstrate for you. The pattern begins low and gradually moves higher in pitch. You can continue working on this pattern on your own and go higher in pitch. If you find the pattern too low for you, sing it as it’s written on the page (up the octave) or wait until the pattern gets high enough for you.
• 娃娃唱：这个节奏型会停留在你的胸腔共鸣区。如果你的嗓音很高，你可能会发现这个节奏型的前几次重复会很低。试着唱这首歌，感受胸腔共鸣的振动，随着音色的升高，逐渐扩大喉咙和口腔的空间。
• Dolls: This pattern stays in your chest voice range. If your voice is high, you may find the first few repetitions of this pattern quite low. Try singing it to feel the vibrations of chest voice and gradually widen the space in your throat and mouth as you move higher in pitch.

找到你的头音范围

Finding your head voice range

正如女性难以在胸腔嗓音和中音之间过渡一样，男性在过渡到头声时也面临困难。经过一些练习，男性可以成功地掌握头声的这个部分。

Just as women struggle with the transition between the chest voice and middle voice, men have a tough transition moving into head voice. With some practice, men can successfully maneuver in this area of the voice.

图 11-11显示了女性头声的平均音域。女士们，在头声达到相当高的音高之前，您可能感觉不到头声和中声之间的太大区别，因为随着音色升高，振动会逐渐向上移动到头部。随着音色下降，您也会感觉到轻微的变化，随着振动逐渐从头部向下移动，声音会更加饱满。您可能想探索一些跳跃的模式，以便真正感受到振动的变化。女中音在头声方面可能比男中音更难掌握。女高音。（更多关于女中音和女高音的区别，请参阅第二章。）在过渡到头声时，你可能会发现一些音符一开始不太可靠。继续练习，你就能找到如何运用头声的方法，并运用本章中的建议。

Figure 11-11 shows the average female head voice range. Ladies, you may not feel much difference between your head voice and your middle voice until you get quite high in your head voice, because the vibrations gradually move up into your head as you go higher in pitch. You also feel a slight change as you descend, and the sound is fuller as the vibrations gradually move lower out of the head. You may want to explore some of the patterns that leap around so you can really feel how the vibrations change. Mezzos may have more of a struggle with head voice than sopranos. (See Chapter 2 for more information about the differences between a mezzo and soprano.) At the transition to head voice, you may find some notes unreliable in the beginning. Keep practicing, and you’ll figure out how to work your head voice, using the suggestions in this chapter.

图 11-12显示了男性头声的平均音域。对于男性来说，练习头声对于唱歌时保持良好的平衡至关重要。但我建议你在尝试将头声推得太高之前先练习一下假声。如果你在练习高音区时感觉声音有些吃力，可以练习假声（参见本章后面的“发现你的假声”），直到你能轻松进出假声区，这样本章的练习会更轻松。你也可以回到中声练习，直到你的中声部分能够轻松自如地练习。当你理解了中声的感受后，你就能更容易地理解在上行音区练习头声时是否用力过猛。

Figure 11-12 shows the average male head voice range. For men, working on head voice is important for a good balance when you sing. But I recommend that you work on your falsetto before attempting to push your head voice too high. If your voice feels strained as you work on the higher patterns, working your falsetto (see “Discovering your falsetto” later in this chapter) until you can move in and out of it makes the exercises in this chapter more comfortable. You can also go back to the middle voice exercises until that part of your voice works easily. When you understand the feelings of middle voice, you can more easily understand when you’re pushing too hard for head voice in ascending patterns.

感觉头声

Feeling head voice

男女歌手都能感受到头声演唱时头部或头骨的振动。在本章探索头声的过程中，请将手放在头顶，也就是头顶的后部。你也可以将手放在颈后，感受随着音色升高而产生的振动。随着音色的升高，你可能会感觉到振动从颈部或嘴部传到头部。当你唱到很高的时候，你可能会感觉到头顶的振动。歌手可以在不同位置感受到振动，但你可以探索随着音色的升高，振动是如何变化的。用头声演唱时，也要注意口腔的感觉。你可能会感觉到声音在上颚你的嘴巴、硬腭，甚至是脸部前方。所有这些振动位置都能帮助你找到头声的感觉。

Male and female singers feel the vibrations from singing in head voice in their head or skull. As you explore your head voice in this chapter, place your hand on the crown of your head, which is the top back part of your head. You can also put your hand on the back of your neck to feel the vibrations as you move up in pitch. As you ascend, you may feel the vibrations move from your neck or mouth to your head. When you get really high, you may feel the vibrations on the very top of your head. Singers can feel the vibrations in different locations, but you can explore how the vibrations change places as you ascend in pitch. Also be aware of the sensations in your mouth as you sing in head voice. You may feel sound on the roof of your mouth, on your hard palate, or even in the front of your face. All these vibration locations help you find the sensations of head voice.

感受头声的一个好方法是唱闭元音。唱闭元音时，嘴巴不会张得那么大。例如，ah 比ee 张得大，所以ee是闭元音，ah 是开元音。（更多元音信息，请参阅第 8 章。）闭元音有助于用头声唱歌，因为闭元音比开元音更轻，产生的振动更容易被感受到。这并不意味着你不能用头声唱 ah 这样的开元音；只是意味着你可以更容易地用闭元音探索头声的感觉，然后将同样的轻松感和振动感融入到开元音中。

A great way to feel head voice is to sing closed vowels. When you sing closed vowels, your mouth isn’t as wide open. For example, ah is wider open than ee, so ee is a closed vowel and ah is an open vowel. (Check out Chapter 8 for more information on vowels.) The closed vowels are helpful for singing in your head voice because the sound is lighter than with open vowels and creates vibrations that are easier to feel. This doesn’t mean that you can’t use open vowels like ah in head voice; it just means that you can explore the sensations of head voice more easily with closed vowels and then take that same ease and feeling of vibrations into your open vowels.

当你唱出图 11-13所示的节奏型时，感受头部的振动。把元音放在身前，你更容易感受到头部的振动。听听歌手们是如何演示头声的。在尝试这个节奏型时，请遵循以下步骤，以便更容易地用头声演唱：

When you sing the pattern shown in Figure 11-13, feel the vibrations in your head. By aiming the vowels out in front of you, you’re more likely to feel the vibrations in your head. Listen to the singers on the track demonstrate head voice. As you try the pattern, follow these steps to make it easier to sing in head voice:

1. 找到你的对齐方式。

   请参阅第 3 章以获取有关查找对齐的提示。

2. Find your alignment.

   See Chapter 3 for tips on finding your alignment.

3. 深呼吸。

   如果您需要有关呼吸工作的更多详细信息，请查看第 4 章。

4. Take a breath.

   Check out Chapter 4 if you need more details on breath work.

5. 抬起软腭的同时打开口腔和喉咙后部的空间。

   第 7 章告诉您有关此步骤需要了解的内容。

6. Open the space in the back of your mouth and throat while lifting your soft palate.

   Chapter 7 tells you what you need to know about this step.

聆听曲目中的歌手演唱图11-14中的节奏型。注意，声音轻盈而高亢，仿佛从嘴里旋转而出。如果你打开喉咙和嘴巴的空间，并运用正确的呼吸技巧，头声演唱通常会感觉声音仿佛从嘴里飞出。如果感觉沉重，需要很大的力气，则说明你用力过猛，或者使用了产生胸腔发声的肌肉。

Listen to the singers on the track sing the pattern in Figure 11-14. Notice that the sound is light and high, as if the sound is spinning out of the mouth. If you open the space in your throat and mouth and apply proper breathing technique, head voice often feels like the sound is just flying out of your mouth. If the feeling is heavy and takes much effort, you’re using too much weight or engaging the muscles that create chest voice.

发现你的假声

Discovering your falsetto

如果你曾经模仿过女人说话或唱歌，那么你已经找到了自己的假声。你的假声可能不是很强，但在唱歌时好好练习一下假声很重要，这样你就能强化你的头声。

If you’ve ever imitated a woman, by either speaking or singing, you’ve found your falsetto. Your falsetto may not be really strong, but giving it a good workout for singing is important so that you can strengthen your head voice.

在音轨上，聆听男歌手演示假声。注意，假声很轻柔，不像你说话的声音；它和你年轻时的声音很相似。现在，试着用以下技巧找到你的假声：

On the track, listen as the male singer demonstrates falsetto sounds. Notice that the falsetto is light, unlike your speaking voice; it’s similar to your voice when you were younger. Now try finding your falsetto by using the following tips:

• 首先在中央C以上滑音。大多数男声都能用假声唱出中央C以下A左右，直到他们感觉舒服为止。曲目中的男歌手示范了适合你的音域。
• First slide around above Middle C. Most men can sing in falsetto from about the A below Middle C up to as high as they’re comfortable. The male singer on the track demonstrates in the correct range for you.
• 允许自己只用假声发声，以适应这种感觉。不必滑音很高，但要在“ooh”元音上滑动足够多的音，以便在上升时检查喉头的位置。请参阅第五章，了解如何找到你的喉头。
• Allow yourself to just make sounds in your falsetto to get used to the feeling. You don’t have to slide high in pitch, but slide around on the ooh vowel enough that you can check the position of your larynx as you ascend. See Chapter 5 for help in finding your larynx.
• 就像你嗓音的其他部位一样，在音色上升时，保持喉部稳定，打开喉咙的空间。准备唱歌时，吸一口气，打开喉咙的空间。
• As in other areas of your voice, keep the larynx steady as you ascend in pitch by opening the space in your throat. Take a breath and open the space as you prepare to sing.
• 当你在音色上滑动并唱出旋律时，保持软腭抬起。
• Keep the soft palate lifted as you slide around in pitch and as you sing the patterns.
• 如果唱第一个音时喉头上移，就从较低的音色开始。记住吸气时打开喉部空间，这样喉头才能下降。
• If your larynx moves up as you begin the first note, start on a lower pitch. Remember to open the space as you inhale so your larynx can descend.

体验你的假声

Experiencing your falsetto

当你找到自己的假声（参见上一节）后，用假声唱歌能让你了解它应该是什么感觉，并帮助你强化假声和头声。尝试图 11-15至11-18中的练习，体验用假声唱歌的感觉。

When you find your falsetto (see the previous section), singing in it gives you an idea of how it’s supposed to feel and helps you strengthen both your falsetto and your head voice. Experience how it feels to sing in your falsetto by trying the exercises in Figures 11-15 through 11-18.

按照图 11-15中的唱法，探索假声的发音。聆听曲目中男歌手的假声示范。检查你的喉头是否没有上扬。（请参阅第 5 章，了解如何找到你的喉头。）唱出这个唱法时，打开口腔后部和喉咙的空间。

Sing through the pattern in Figure 11-15 to explore sounds in your falsetto. Listen to the male singer on the track demonstrate in his falsetto. Check that your larynx isn’t rising. (See Chapter 5 for help finding your larynx.) As you sing the pattern, open the space in the back of your mouth and throat.

大多数初学者的假声音域不需要唱到中央C以下，也不需要唱到中央C以上八度以上。如果你觉得自己嗓音比较高，当然可以练习更高的音域，以帮助发展高音C和D。练习假声至少三周，或者直到你能够轻松地保持喉部稳定（保持喉咙张开）并发出清晰的声音。然后继续进行本章接下来“从假声下降”部分的练习。

Most beginners don’t need to sing below Middle C or beyond the octave above Middle C in their falsetto range. You can certainly work it higher if you think you’re a higher voice type, to help develop your High C and D. Work on your falsetto for at least three weeks or until it’s easy for you to keep your larynx steady (by keeping your throat open) and make clear sounds. Then move on to the exercises in the “Descending from falsetto” section, coming up next in this chapter.

从假声下降

Descending from falsetto

本节列出的练习模式可以帮助你从假声练习到中声和胸声。由于你专注于练习假声，这项练习可能看起来不太合适。然而，目标是利用假声的轻松感觉，让你的音符在中声中也能轻松自如地发出声音，而不会感到压力。

The patterns listed in this section help you work from your falsetto down to your middle voice and chest voice. This exercise may seem out of place because you’re focusing on your falsetto. However, the goal is to use the easy feeling of falsetto and get your notes in your middle voice to have that same ease of sound without pressure.

图 11-16可以让你从假声向下切换到中声，这样你就能真正感受到它们之间的区别。体验到这种切换之后，你可以通过从假声向下滑动而不是向下倾斜来实现平滑的过渡。你可能需要想象低音就在你面前，以防止低音下降并在音符之间造成很大的裂痕。当你的中声音符感觉轻松时，你希望找到从假声轻松过渡到头声的相同感觉。长期的好处是，你将能够轻松地演唱一首从中声过渡到头声的歌曲或乐句，因为你知道如何让“橡皮筋”变细。这种转变可能在一开始，这很正常。随着过渡越来越顺畅，你就能更轻松地完成转换。现在先让它发生碰撞。完全避免碰撞会让你感觉不到两种声音之间的差异。

Figure 11-16 allows you to flip out of falsetto down into your middle voice so you can really feel the difference between them. After you experience the flip, you can develop smooth transitions by gliding down from falsetto instead of falling down. You may want to visualize the lower note in front of you to prevent the bottom note from falling down and creating a big crack between the notes. When the notes in your middle voice are feeling easy, you want to find that same sensation of moving from falsetto to head voice with ease. The long-term benefit is that you’ll be able to easily sing a song or musical pattern that moves from middle voice to head voice because you know how to thin out your rubber band. The shift may be bumpy in the beginning, and that’s normal. As the transitions get smoother, you can make the shift more easily. Go ahead and let it bump for now. Preventing the bump entirely prevents you from feeling the difference between the two sounds.

按照图 11-16中的节奏型，先用假声演唱，然后在节奏型的低音部分向下过渡到中声。让声音发生翻转，并产生明显的变化。一开始，在音高之间转换时，要留出较大的变化。你练习得越多，以后就越有信心能够顺利过渡。当你觉得这个节奏型很容易掌握时（通常需要几周的练习），再按照图 11-17中的节奏型演唱，并平稳地过渡到低音部分。

Using the pattern in Figure 11-16, sing from your falsetto and flip down into your middle voice on the lower note of the pattern. Let the sound flip and make a noticeable change. You want to allow big changes when you move between the pitches in the beginning. The more you work this transition, the more confident you’ll feel making a smooth transition later. When this pattern is easy for you (usually after several weeks of practice), sing the pattern in Figure 11-17 and make a smooth transition to the bottom note.

在图11-16中，你用假声唱出第一个音符，然后按照所写的，在元音上滑入中声（或者在最后两次重复中用胸声）。一开始你可能会感到困惑，因为过渡会比较平稳。为了帮助平稳过渡，可以想象在音符之间滑行，并在滑行过程中逐渐打开喉咙的空间。在音高下降时，给自己一些时间来探索平稳的过渡。练习得越多，你就越能熟练地从假声中过渡出来。

In Figure 11-16, you flipped and bumped out of falsetto. In this pattern (see Figure 11-17), sing the first note in falsetto and slide down into your middle voice (or chest voice, on the last two repetitions) on the vowels, as written. You may feel confused in the beginning when you’re making the transitions. To help smooth the transition, think of gliding down or sliding between the notes, and gradually open the space in your throat as you slide down. Give yourself some time to explore a smooth transition as you descend in pitch. The more you practice, the more secure you’ll feel moving down out of falsetto.

上升至假声

Ascending into falsetto

按照练习说明，探索从较重的胸声或中声过渡到较轻的假声的感觉。这项练习的好处是，通过练习，你可以找到如何过渡到假声或头声的方法。你的头声会更有力，因为你知道如何在不增加重音的情况下唱出音符。压力或厚度，就像拉橡皮筋一样，橡皮筋仍然很厚。当你对前面的图案的进展感到自信时，可以继续练习图11-18中的图案。

Follow the directions for the exercises and explore the sensations of moving into the lighter sound of falsetto from the heavier feelings of chest voice or middle voice. The benefit of this exercise is that, with practice, you can figure out how to make the transition up to falsetto or your head voice. Your head voice will be stronger because you’ll know how to sing the notes without adding heavy pressure or thickness, as if you were pulling a rubber band and it remained thick. Move on to the pattern in Figure 11-18 when you feel confident of your progress in the previous patterns.

按照图11-18，用胸腔共鸣唱出第一个音符（最后三次用中声），然后滑上假声。滑回时尽量保持平稳。现在，在音高之间真正地滑动是可以的。如果在过渡时感觉到有碰撞，请继续练习，让碰撞自然发生。之后，随着你越来越习惯这种假声的进出转换，你可能会发现碰撞会变得更加平滑。当你滑上假声时，你会感觉到头部共鸣的振动在不断上升。

Following Figure 11-18, sing the first note in your chest voice (middle voice on the last three reps) and then slide up into falsetto. Keep the slide back down as smooth as possible. It’s okay to really slide between the pitches for now. If you feel it bump as you make the transition, keep working and allow the bump to happen. Later you may find that the bump gets smoother as you get more accustomed to making this transition in and out of falsetto. As you slide up into falsetto, you feel the vibrations of resonance climbing higher in your head.

调整胸腔共鸣音

Maneuvering in and out of chest voice

知道何时进行中声过渡可能很棘手。当你唱出每个下行或上行的音型时，注意感受——你应该能够感觉到你的胸腔共鸣想要接管或放弃中声。了解你的中声部音色过低，胸腔共鸣部音色过高，可以让你找到从中声部过渡到胸腔共鸣部音色的过渡点。练习这些练习可以帮助你顺利地完成这些过渡。

Knowing when to make the middle voice transitions can be tricky. As you sing each descending or ascending pattern, notice how it feels — you should be able to feel your chest voice wanting to take over or give up to middle voice. Knowing what’s too low for your middle voice and what’s too high for your chest voice allows you to figure out where you need to make the transition from middle voice to chest voice. Practicing the exercises helps you make those transitions smoothly.

从中音下降到胸腔共鸣

Descending from middle voice to chest voice

以下练习旨在帮助你从中声部过渡到胸声部。由于你刚刚找到自己的中声部，你可能不确定胸声部和中声部在感觉上有什么区别。图 11-19中的模式让你有机会探索声音、振动和感觉上的差异。

The following exercises work on your transition from middle voice into chest voice. Because you just found your middle voice, you may not be sure what the difference is in the feeling between chest voice and middle voice. The pattern in Figure 11-19 gives you the chance to explore the differences in sound, vibrations, and feeling.

图 11-19中的下行模式从中声部过渡到胸声部。中声部和胸声部之间的感觉略有不同，向下移动音阶可以让你感受到进入胸声部时的变化。从中声部进入胸声部时，你需要打开喉咙的空间，而不是向下按压。随着音阶下降，共鸣振动逐渐降低，感觉也更加厚重饱满。

The descending pattern in Figure 11-19 moves from middle voice to chest voice. The sensations between middle voice and chest voice are a bit different, and moving down in scale enables you to feel the changes as you move into chest voice. As you move into chest voice from middle voice, you want to open the space in your throat instead of pressing down. The vibrations of resonance gradually move lower as you descend and the feeling is thicker and fuller.

• 男士们：先生们，这个节奏型挑战你从中声唱到胸声。第一次听到这个节奏型时，先用中声唱出前两个音符，然后过渡到胸声。随着节奏型的降低，你可以更快地过渡到胸声。注意中声和胸声音符之间的细微感觉差异；胸声听起来更厚重。
• Guys: Gentlemen, this pattern challenges you to sing from your middle voice to your chest voice. The first time you hear the pattern played, you sing the first two notes in your middle voice and then move to chest voice. As the pattern gets lower, you can move into chest voice sooner. Notice the slight difference in feeling between the notes in middle voice and the notes in chest voice; chest voice feels thicker.
• 娃娃：第一次重复这个节奏型时，用中声部，然后在低音部分切换到胸腔共鸣。随着节奏型的音高降低，你可能需要更早地切换到胸腔共鸣。无论节奏型音色多低，始终用中声部唱出高音。
• Dolls: Start the first repetition of this pattern in middle voice and switch to chest voice on the bottom note. As the pattern gets lower in pitch, you may need to switch to chest voice sooner. No matter how low the pattern goes, always sing the top note in your middle voice.

从胸腔共鸣上升到中音

Ascending from chest voice to middle voice

本节练习从胸腔声部回到中声部。一开始你可能会觉得有点难。就像增重比减重容易一样，从中声部转换到胸腔声部通常也更容易，因为这就像变胖然后增重一样。从胸腔声部转换到中声部就好比减肥一样。练习中声部模式，直到你对中声部的声音和感觉有信心为止。然后，你可以进行这个从中声部转换到胸腔声部的练习。当你真正有信心时，可以尝试图 11-20中的练习。

The exercise in this section moves from chest voice back up to middle voice. Doing it may be difficult for you in the beginning. Just as it’s easier to gain weight than to lose it, moving from middle voice to chest voice is often easier because it’s like getting thicker and gaining weight. Moving from chest voice to middle voice is about losing weight. Practice the middle voice patterns until you’re confident of the sounds and feelings of middle voice. You can then work this exercise, which moves from middle voice to chest voice. When you’re really confident, try the exercise in Figure 11-20.

还记得从中声部过渡到胸声部的感觉吗？随着音阶的降低，这种感觉会逐渐变得厚重。图 11-20中的模式则相反。你需要在音高上升时逐渐减轻声音的重量——列出的元音可以帮助你从较重的胸声部声音过渡到中声部，并在上升到中声部时减轻声音的重量。如果你发现一个较轻的胸声部声音可以轻松地从低音过渡到中声部，那么你就找到了金矿。如果你不确定它听起来应该是什么样子，可以多听几遍歌手的演唱，听出其中的区别：

Remember what it felt like to make that transition from middle voice to chest voice? The feeling gradually got thicker as you went down the scale. The reverse happens in the pattern in Figure 11-20. You need to gradually lighten the sound as you ascend in pitch — the vowels listed help you move from a heavier chest voice sound and lighten up as you ascend into middle voice. If you find a lighter chest voice sound that moves easily from the bottom into middle voice, you’ve found the gold mine. If you aren’t sure what it should sound like, listen to the singers a few times to hear the differences:

• 男士们：这个节奏型的前两次重复是胸腔共鸣。第三次重复时，高音部分从胸腔共鸣过渡到中音。随着音高上升，允许声音变轻或减少压力。
• Guys: The first two repetitions of the pattern are in chest voice. The third repetition moves from chest voice to middle voice on the top note. Allow the sound to lighten or use less pressure as you ascend.
• 娃娃：最初几次重复时，先用胸腔共鸣，然后从高音过渡到中音。随着每次重复，音型会越来越高，你可以更快地过渡到中音。试着唱高音时，音色要比低音轻。
• Dolls: The first couple of repetitions start in chest voice and move to middle voice on the top note. As the pattern gets higher with each repetition, you can transition to middle voice sooner. Try to sing the top notes lighter than the bottom notes.

从中声部上升到头声部

Ascending from middle voice to head voice

中声部过高会使头声部无法得到应有的锻炼。如果你试图将中声部的声音推得太高，你的声音过渡也会变得更加困难。过渡音会变得不可靠，因为你会试图用很重的声音演唱它们，而保持这种沉重的声音可能很棘手。你可以选择在某首歌中何时切换到头声部，但在练习中，你应该尽早切换，以保持头声部的强劲。

Taking the middle voice too high keeps the head voice from getting its fair share of the workout. The transitions in your voice also become more difficult if you try to push a middle voice sound too high. The transition notes won’t be dependable because you’ll try to sing them heavy, and maintaining that heavy sound can be tricky. You can make a choice of when to change to head voice in a particular song, but in the exercises, you want to keep the head voice strong by switching as early as possible.

做图11-21中的练习，帮助你感受从中声到头声的过渡。注意，这个音型中有休止符，方便你分离音符。确保过渡到头声，而不是上行到中声。还要注意，元音的排列顺序是，低声部较厚，随着音色上升逐渐变轻：

Work the exercise in Figure 11-21 to help you feel the transition from middle voice to head voice. Notice that the pattern has rests in it for you to detach the notes. Make sure that you transition into head voice instead of carrying up to middle voice. Notice, too, that the vowels are laid out so that your sound is thicker at the bottom and gradually lightens as you ascend:

• 男士们：这种模式始于胸腔共鸣，但最终会经过中音，逐渐过渡到头音。随着音色的上升，你可能会想唱出饱满、厚重的声音。相反，你应该在音色上升的过程中感受共鸣的变化，让声音变得轻盈，在高音部分减少喉咙的压力。
• Guys: This pattern starts in your chest voice, but you definitely move through your middle voice on your way up to head voice. As you ascend in pitch, you may be tempted to sing a full, heavy sound. Instead, feel the vibrations changing as you ascend and allow the sound to lighten, with less pressure in your throat on the higher notes.
• 娃娃：唱这个节奏型时，在中声和头声之间来回切换。每重复一次，你就能更快地切换到头声。随着节奏的下降，注意中声比头声更重。你可以用胸声开始前三次，但从第二个音符开始过渡到中声。女声会为你示范。
• Dolls: Sing this pattern moving back and forth between middle voice and head voice. With each repetition, you can change to head voice sooner. As you descend in the pattern, notice how the middle voice feels heavier than head voice. You can start the first three reps in chest voice, but transition to middle voice on the second note. The female demonstrates this for you.

从头声下降到中声

Descending from head voice to middle voice

从头声过渡到中声时，声音和感觉会随着音阶的下降而逐渐变得浑厚。如果头声过低，声音会变得轻柔；如果中声部分的声音过轻，则难以让人听清。尝试本节中的练习，让从头声到中声的过渡更加顺畅。

When moving from head voice to middle voice, the sound and sensations gradually thicken as you move down the scale. Taking head voice too low creates a light sound, and if the sound in the middle part of the voice is too light, it’s harder to make yourself heard. Try the exercises in this section to smooth that transition from head voice to middle voice.

在图11-22的节奏型中，你从节奏型的高音开始，逐渐向下。在第一个音符上找到头声旋转的感觉，随着音色的下降，声音逐渐变得浑厚。你甚至可能感觉到振动从头部传到嘴巴或颈部。这很好。节奏型开始很慢，然后逐渐加快。慢慢来。在尝试更快的节奏型之前，你可能需要重复最初几个较慢的节奏型来适应过渡：

In the pattern in Figure 11-22, you start on the high note of the pattern and work your way to the bottom. Find the spinning feeling of head voice on the first note, and gradually let the sound grow thicker as you descend. You may even feel the vibrations moving from your head to your mouth or your neck as you descend. That’s just fine. The pattern starts slowly and gradually gets faster. Take your time. You may need to repeat the first few slower patterns to get accustomed to making the transition before you tackle the faster patterns:

• 伙计们：当你按照这个节奏下降时，你会用胸声。这是一个很好的节奏，让你从头声向下过渡到中声。如果现在高音对你来说太高，可以先用假声。等你更有信心了，就可以用头声开始。
• Guys: As you descend in this pattern, you land in chest voice. It’s a great pattern for you to sing moving from your head voice down through your middle voice. If the top notes are too high for you right now, start in falsetto. Later, when you’re more confident, you can start in head voice.
• 娃娃音：这个模式从头声过渡到中声。后面的几次重复会过渡到胸声。如果前几次重复的音色太高，随着模式的下降，尽可能加入。
• Dolls: This pattern moves from head voice to middle voice. Some of the later repetitions move to your chest voice. If the first few repetitions are too high, join in whenever you can as the pattern descends.

充分利用你的混音，伙计

Making the most of your mix, man

男士们，随着你的假声越来越强，是时候进行一些混合，强化那些曾经纯粹是假声的音符了。如果你使用50%胸声和50%头声的混合，你就是在描述你声音中间部分的变化。你也可以改变这个比例，更多地使用胸声或头声，或者混合使用不同的比例。根据你音域的水平，混合比例可以是头声为主，也可以是胸声为主。

Men, as your falsetto gets stronger, it’s time to mix it up to strengthen the notes that were once purely falsetto sounds. If you use a blend of 50 percent chest voice and 50 percent head voice, you’re describing what happens in the middle part of your voice. You can also vary that percentage to use more chest voice or head voice, or mix up the percentage. Depending on where you are in your range, the mix can be more head voice–dominated or chest voice–dominated.

唱单音时，你可以先用假声，然后增加更快的气流和更高的共鸣，使音符以头声为主。这种以头声为主的混合音在男声的高音区更常见；以胸声为主的混合音在胸声区更常见。如果你在唱单音时增加一些重量或厚度，并保持较低的共鸣，你就能变成以胸腔共鸣为主的混音。男声混音与女声混音类似，因为混音时你可以改变共振的权重和位置。

In singing just one note, you can start in falsetto and then add faster airflow and a high resonance to make the note head voice-dominated. This head voice–dominated mix is more common at the higher end of the male voice; a chest voice–dominated mix is more common in the chest voice range. If you add some weight or thickness as you sing the note and keep the resonance low, you move into a mix that is chest voice–dominated. Mix for the male voice is similar to mix for the female voice because you can vary the amount of weight and location of vibrations of resonance you use when you mix.

混音需要你找到产生头声和胸声的肌肉之间的平衡。如果在唱高音时，负责产生胸声的肌肉过于活跃，声音就会变得沉重，甚至可能断裂或破裂。让产生头声或胸声的肌肉在适当的时间参与，可以确保从高音到低音的平滑过渡。

Mix requires you to find a balance of the muscles that create head voice and chest voice. If the muscles that help you create chest voice are too active while you try to sing high notes, the sound becomes heavy and may even break or crack. Allowing the muscles that create head voice or chest voice to engage at the appropriate time ensures smooth transitions from the top of your voice to the bottom.

记住，你可以用两种不同的方式唱出同一个音符：你可以用假声唱出中央C上方的F，也可以用头声唱出。拥有选择的力量，让你有机会决定在每首歌中想要发出什么样的声音。

Remember that you can sing the exact same notes two different ways: You can sing the F just above Middle C in your falsetto or in your head voice. Having the strength to make either choice gives you a chance to decide what kind of sound you want to make in each song.

听听一位男歌手演示图11-23中的音型，从假声过渡到混音。注意，随着他声部下降，他的声音不再沉重。声音更轻盈，却又饱满，就像头声一样。喉咙的压力也减轻了。

Listen while a male singer demonstrates the pattern in Figure 11-23, which moves from falsetto into a mix. Notice that as he descends, he drops into a sound that’s not heavy. The sound is lighter, yet has fullness just like head voice. The feeling is of less pressure in the throat.

姑娘们，加入进来

Getting into the mix, gals

女士们，您可以在本节中探索女声混音。女声混音是一种声音，当你想让声音的中段更浑厚时可以使用。混音几乎适用于所有演唱风格，但在古典音乐中并不常用。

Ladies, you can explore the female mix in this section. The female mix is a sound that you can use when you want to make a thicker sound in the middle part of your voice. Mix is appropriate for almost any style of singing but isn’t as commonly used in classical music.

当你想让中声部的声音更厚重时，可以使用女声混音，这样你就需要练习中声，直到它足够强劲。先进行说话声练习，这样你就能掌控声调的起始，然后再处理混音。（更多关于说话声的内容，请参阅第13章。）当你不想使用带状声带（请参阅第13章）或想探索不同的声音来表达歌词时，混音是合适的。有些歌曲不需要厚重的胸腔声带，而是需要像混音那样饱满饱满的声音。

You can use the female mix when you want to make a thicker sound in the middle part of your voice, so you want to work your middle voice until it’s quite strong. Work on the speaking voice exercises so you have command over the onset of tone, and then tackle mix. (See Chapter 13 for more on your speaking voice.) Using mix is appropriate when you don’t want to use a belt sound (see Chapter 13) or when you want to explore different sounds to express the text of your song. Some songs don’t need a heavy chest voice sound, but instead need a sound that’s rich and full, like a mix.

要找到你的混音，请尝试与你通常用中声演唱相反的方法。通常，从中声唱到头声时，音色上升时，声音要逐渐变轻。为了增强你的混音效果，我希望你避免在音色上升时，将声音变轻，从而进入头声。

To find your mix, try the opposite of what you normally do to sing in middle voice. To sing from middle voice to head voice normally, you gradually lighten the sound as you ascend in pitch. To strengthen your mix, I want you to avoid lightening the sound into head voice as you ascend.

先生们，图 11-24和11-25中的音型非常适合你们演唱。如果你刚开始掌握假声，可以用假声演唱这些音型。如果你的假声已经相当扎实，可以通过交替使用共鸣和音色的重量来演唱这些音型。

Gentlemen, the patterns in Figures 11-24 and 11-25 are fine for you to sing. You can sing the patterns in your falsetto if you’re just getting the hang of your falsetto. If your falsetto is pretty secure, you can sing the patterns in a mix by alternating the resonance and weight in the tone.

听歌手用混合音演示图 11-24中的模式。注意她如何提高音色，以及声音如何在她身体的同一位置振动。当你唱出这个模式时，想象自己径直唱出声音。让音色在你面前移动，不要让共振振动在你提高音色时升到更高的位置。一开始这感觉很奇怪，但你会逐渐感觉到随着音色的提高，声音变得越来越宽广。你也可以想象你的胸部在提高音色时张开。我假装自己正游向音色。当你游向音色时，张开双臂和身体，向声音移动。你也可以想象你的胸部和喉咙打开，为声音腾出更多空间。因为你通常允许共振振动想要在上升到头声时音色更高，你需要保持空间开放，这样当你在混音中上升到头声时，共振就会保持在较低水平。保持共振保持在较低水平（而不是像平常上升时那样让共振上升到头声），听起来就像你上升到头声并保持在胸腔共鸣中一样。

Listen to the singer demonstrate the pattern in Figure 11-24, using a mix. Notice how she ascends in pitch and how the sound vibrates in the same place in her body. As you sing through the pattern, think of singing straight out. Allow the tone to move out in front of you and not allow the vibrations of resonance to rise higher in your head as you ascend in pitch. This feels odd at first, but you’ll gradually sense the sound getting wider as you ascend in pitch. You can also think of your chest opening wide as you move up in pitch. I pretend that I’m swimming into the tone. As you swim toward the tone, open your arms and your body to move into the sound. You can also imagine your chest and throat opening to make more room for the sound. Because you normally allow the vibrations of resonance to move higher as you ascend into head voice, you want to keep the space open so the resonance stays down as you move higher in a mix. Keeping the resonance down (instead of allowing it to rise to your head as you normally do when you ascend) makes it sound as if you ascend and stay in chest voice.

在混音中唱歌是一个需要你认真考虑的选择。在探索混音的过程中，要持续练习中声向头声的过渡，这样当你选择这样做时，你仍然可以让声音在音色上升时逐渐变轻。

Singing in a mix is a choice that you want to consciously make. As you explore the mix, continue to work on your middle voice transitions into head voice so that you can still make the sound gradually lighten as you ascend in pitch when you choose to do so.

图 11-25中的模式旨在帮助您在以胸声为主的混音和以头声为主的混音之间切换。听歌手为您演示。她在以胸声为主的混音和以头声为主的混音之间改变每个模式。她从以胸声为主的混音开始，并在整个重复过程中不断交替，以便您可以听出声音之间的差异。当她第二次唱这个模式时，听起来就像她在用头声唱歌，即使她不在头声范围内——她使用的是以头声为主的混音。她通过想象头声为主的混音感觉更轻更高的共振，以及以胸声为主的混音感觉更重且共振更低来做出这一改变。听完她的演示几次后，再次播放曲目并跟着唱。

The pattern in Figure 11-25 is designed to help you alternate between a chest voice–dominated mix and a head voice–dominated mix. Listen to the singer demonstrate for you. She alters each pattern between a chest voice–dominated mix and a head voice–dominated mix. She begins on a chest voice–dominated mix and continues alternating throughout the repetitions so you can hear the difference between the sounds. The second time she sings the pattern, it sounds like she’s singing in her head voice even though she’s not in her head voice range — she’s using a head voice–dominated mix. She made this change by thinking of the sensation as lighter and higher resonance for the head voice–dominated mix and heavier and dropping the resonance lower for chest voice–dominated. After you listen to her demonstration a few times, play the track again and sing along.

扩大你的范围

Taking your range higher

提高音域的一个好方法是唱断奏，即“短促而分离”。唱更短、更轻的音符有助于唱高音，因为这样可以减轻嗓子的压力。唱断奏时，要打开喉咙，保持喉部稳定，并保持颈部肌肉静止。如果颈部肌肉收缩或收紧，则唱断音时要轻柔，减轻重量或压力；这种技巧可以帮助你了解如何锻炼喉部颈部的肌肉。唱出轻快而短促的音符，并与呼吸保持一致。如果声音飘忽不定，说明逸出的空气太多。在较长的音符上找到清晰的声音，然后逐渐唱出更短的音符以保持清晰度。

A great way to increase your range upward is by singing staccato, which means “short and detached.” Singing shorter, lighter notes helps you in singing higher notes, because you’re not using as much heavy weight. To sing staccato, keep your larynx steady by opening your throat and keep the muscles in your neck still. If they flex or tighten, sing the staccato notes lighter, with less weight or pressure; that technique helps you figure out how to work the muscles inside your neck in your larynx. Make the notes light and short, and keep them connected to your breath. If the sound is airy, too much air is escaping. Find a clear sound on a longer note and then gradually sing notes that get shorter to maintain that clarity.

图 12-1让你有机会在音阶上跳跃音符时探索断奏。随着音高上升，让你的后场空间打开。你必须快速打开这个空间，因为你在这个节奏型中移动很快，所以在唱歌时要提前思考。在线曲目中的歌手演示了这个节奏型，唱断奏。你可能会感觉到腹肌在每一个音符开始时都在运动。这很正常：你需要呼吸与每个音符衔接。吹气过多会使轻快的歌声更加困难。另一方面，如果你呼出的气量恰到好处，音符就会沿着音阶跳跃。一开始使用ee元音，保持声音轻盈，并以头声为主。随着断奏变得更容易，你可以探索其他元音。对于男声，这种模式从胸腔共鸣过渡到中声；对于女声，这种模式从中声过渡到头声。

Figure 12-1 gives you the opportunity to explore staccato sounds as you skip notes along the scale. As you ascend in pitch, allow your back space to open. You have to open this space fast because you’re moving quickly in the pattern, so think ahead as you’re singing. The singer on the online tracks demonstrates the pattern, singing staccato. You may feel your abs move as you start each note. That’s normal: You want your breath to connect to each note. Blowing too much air makes it harder to sing lightly. On the other hand, if you connect just the right amount of air, the notes bounce along the scale. Use the ee vowel at first to keep the sound light and dominated by head voice. As your staccato gets easier, you can explore other vowels. This pattern moves from chest voice to middle voice for the male voice and middle voice to head voice for the female voice.

把这个练习分成几个步骤：打开空间，呼气，然后发出声音。希望所有步骤同时进行，但如果协调起来有困难，可以专注于每个步骤。

Break this exercise into steps: Open the space, send the breath, and then make the sound. Hopefully, it all happens at the same time, but concentrate on the individual steps if you’re having trouble getting it all coordinated.

改变动态

Varying the dynamics

你可能听说过，无论大声还是轻声，歌手都能很好地控制自己的声音。随着高音区灵活性的提高，你需要弄清楚如何改变力度（音量）。图 12-2中的练习称为messa di voce，意思是“定位声音”。在messa di voce练习中，歌手开始时声音很轻柔，逐渐变大，然后再次变轻柔。练习messa di voce可以帮助你轻松地唱出任何给定音符的高声或轻声。在练习过程中，允许颤音出现。如果你不确定颤音或如何找到自己的颤音，请参阅第 6 章。

You’ve probably heard singers control their voice beautifully, whether they’re singing loudly or softly. As your flexibility increases in your upper register, you want to figure out how to vary the dynamics (volume). The exercise in Figure 12-2 is called a messa di voce, which means “placing the voice.” In a messa di voce exercise, the singer begins the note softly, gradually gets louder, and then grows soft again. Working on the messa di voce helps you get comfortable singing loudly or softly on any given note. Allow the vibrato to happen as you work on the exercise. If you aren’t sure about vibrato or how to find yours, check out Chapter 6.

在线曲目中的歌手演示了图 12-2中的“ messa di voce”练习。你可以尝试这个练习，从任意音符开始。只需按照以下步骤操作：

The singers on the online tracks demonstrate the messa di voce exercise in Figure 12-2. You can try this exercise, starting on any note. Just follow these steps:

1. 开始用你能做到的最轻柔的声音唱出这个音符。
2. Start singing the note as softly as you can manage.

3. 继续唱出这个音符，同时声音逐渐增大——渐强。

   提高音量时，保持稳定的气流。声音变大是因为气流增加，而不是因为挤压喉咙。

   随着音量增大，你可能会感到肌肉有些颤动或扭动。不要惊慌：你的肌肉需要时间来适应这项新技能。使用持续的气流来消除肌肉颤动。

4. Continue singing the note while gradually getting louder — crescendo.

   Maintain a steady flow of air as you grow louder. You want the sound to grow louder because of the increased airflow, not because you’re squeezing your throat.

   You may feel a bump or wiggle as you grow louder. Don’t panic: Your muscles need time to adjust to this new skill. Use a consistent flow of air to eliminate the wiggle.

5. 继续唱出这个音符，同时声音逐渐变得柔和——渐弱。

   随着音色逐渐变弱，保持气流恒定。你可以假装音符开始飘浮，这能帮助你逐渐降低音量。

6. Continue singing the note while gradually getting softer — decrescendo.

   Keep the airflow constant as you grow softer. You can pretend that the note begins floating to help you gradually decrease the volume.

随着练习的进行，你可能会发现，一开始的音色可以更轻柔，然后逐渐变大。随着练习，你会逐渐提高这项技能——今天，请尽量保持轻柔或大声的唱法。

As you work through this exercise, you may find that you can start the tone even softer and grow even louder. You’ll gradually improve this skill with practice — sing only as softly or as loudly as you can manage for today.

在寄存器之间移动

Moving between registers

如果您想了解每个音域的具体信息，请参阅第 11 章，其中介绍了您嗓音的各个区域。前面章节中的大多数音型都是慢节奏的，音符彼此相邻；它们让您有机会在唱歌时专注于每一个声音和感觉。当您熟练掌握了这些特定区域后，您会想要挑战在各个音域之间转换，以进一步提升您的技巧。接下来的音型速度更快，音程更长，并且要求您在音域上下移动时能够快速平滑地在不同音域之间过渡。

If you want some specific information about each register, check out Chapter 11, which describes each of the areas of your voice. Most of the patterns in the earlier chapters are slow patterns with notes right next to each other; they give you a chance to focus on every sound and sensation as you sing. When you have those specific areas down pat, you’ll want the challenge of moving between registers to improve your technique even more. The patterns just ahead move faster, involve larger intervals, and require you to quickly make smooth transitions between registers as you move up and down your range.

如果这些音型对你来说现在太高，那就等到你唱高音更舒服的时候再练习。多听听这些音型，熟悉所有音符，这样当你的声音能唱出高音时，你就可以开始唱了。一定要坚持练习，因为你想要的是能够唱出高音，而不是一味地回避它们。

If the patterns are too high for you right now, wait until you’re more comfortable singing high notes. Listen to them and get used to all the notes so you’re ready to sing them when your voice can handle the higher notes. Make sure that you keep practicing, because you want to be able to sing the higher notes and not just avoid them.

图 12-3中的音型从高音开始，并不断回到高音。记住，随着音高上升，要逐渐增加喉咙和口腔的空间。你还需要稳定的气流来贯穿整个音型。如果你从头到尾唱歌有困难，可以使用你的用唇颤音或舌颤音来练习呼吸，然后再唱出元音的节奏。无论男女声，节奏都从中声过渡到胸腔共鸣。

The pattern in Figure 12-3 starts on the top note and keeps returning to that top note. Remember to gradually increase the space in your throat and mouth as you ascend to the higher notes. You also need a steady airflow to make it all the way through the pattern. If you’re having trouble singing from start to finish, use your lip trill or tongue trill to work on your breath and then go back and sing the pattern on the vowels. This pattern moves from middle voice to chest voice for both the male and female voice.

图 12-4中的音型快速移动，并上升了一个八度，这为你在胸声、中声和头声之间切换提供了绝佳的机会。在上升过程中，要注意音域之间的过渡。为了过渡到头声，你需要让共鸣在上升过程中升高。请查看本章前面“处理音域转换”部分的建议列表。如果这个音型对你的声音来说太高，你也可以降低一个八度。

The pattern in Figure 12-4 moves quickly and ascends over an octave, which gives you a wonderful opportunity to move among chest voice, middle voice, and head voice. As you ascend, take care in making the transitions between the registers. To make the transitions into head voice, you want to allow the resonance to rise higher as you ascend. Look over the list of suggestions under the section, “Tackling Register Transitions,” earlier in this chapter. You can also drop down an octave if this pattern is too high for your voice.

沿着尺度移动

Moving along the scale

图 12-5至12-7中的节奏型会引导你练习快速移动的节奏型。慢慢适应所有音符。随着节奏型的推进，音符会逐渐变长、难度逐渐增加，音符也会越来越多。此外，图 12-6中的节奏型开始较慢，然后逐渐加快。这让你有机会在节奏过快之前适应节奏型。

The patterns in Figures 12-5 to 12-7 introduce you to patterns that move quickly. Take your time getting used to all the notes. The patterns get progressively harder and longer and include more notes as they go. In addition, the tempo starts slowly in Figure 12-6 and gradually speeds up. This gives you a chance to settle into the pattern before it starts moving too quickly.

图 12-5沿着一个音型移动，并重复了一些音符。注意，前两个音符和音型中最高的两个音符都重复了。这给了你灵活性；你不必试图控制音型中的每个音符。一定要注意你的呼吸联系：你的呼吸应该带动声音一起移动，而不是让你的下巴或喉头弹动。

Figure 12-5 moves along a pattern and repeats a few of the notes along the way. Notice that the first two notes are repeated as are the highest two notes in the pattern. This gives you flexibility; you don’t have to try to control every note in the pattern. Be sure to notice your breath connection: You want your breath to move the voice along, not bounce your jaw or your larynx.

加快步伐

Picking up the pace

通过练习快速移动的音阶或模式，你可以提高歌唱的敏捷性。图12-6中的模式可以帮助你以更快的速度上下演唱，同时在胸声、中声和头声之间切换。这个模式是一个完整的音阶，在高音部分加一个额外的音符。专业术语中，它通常被称为九全音阶。在线曲目中，这个模式开始较慢，然后逐渐加快。以下技巧可以帮助你演唱这首曲目：

By practicing scales or patterns that move quickly, you can develop better agility. The pattern in Figure 12-6 helps you sing at a faster pace up and down a scale while moving through chest voice, middle voice, and head voice. This pattern is a full scale plus one extra note on the top. It’s often called a nine-tone scale, in technical terms. On the online tracks, the pattern starts slowly and gradually speeds up. These tips can help you sing this track:

• 试着感受五分音符和高音上的中心点或重音。你可以看到中心点上方有一条线。如果你瞄准这些中心点，你就能感受到这个模式分成了两个部分，而不是一个长长的连续模式。
• Try to feel the pivot points or accents on the fifth note and the top note. You can see a line over the pivot notes. If you aim for these pivot notes, you can feel the pattern in two sections instead of one long, run-on pattern.
• 确保在唱这个节奏型时下巴保持静止，喉部不会上下摆动。用镜子检查两者的运动。如果在镜子里看不到喉部，可以用手指按住喉部。如果不记得如何找到喉部，请复习第五章。
• Make sure that your jaw stays still as you sing the pattern and that your larynx doesn’t bob up and down. Use a mirror and check the movement of both. Keep your fingers on your larynx if you can’t see it in the mirror. Review Chapter 5 if you don’t remember how to find your larynx.
• 如果你唱不出所有音符，可以加一个辅音——例如，加L或D来唱lah或dah。加辅音后，你在唱每个音符时都能感受到舌头的运动，从而帮助你更自信地唱出每个音符。之后，你可以去掉辅音，只唱元音。
• If you have trouble getting all the notes, add a consonant — for example, add L or D to sing lah or dah. By inserting the consonant, you feel the movement of your tongue as you sing each note, helping you land more confidently on each note. Later you can take away the consonant and sing just the vowels.

图 12-7展示了与其他章节（例如第 8 章）中相同的五音符模式，但我添加了一些音符。试着听听这个熟悉的五音符序列，并把这些音符想象成你的垫脚石。你可以看到垫脚石音符上方有一条线。

Figure 12-7 shows the same five-note pattern that you explore in other chapters (such as Chapter 8), but I added a few notes. Try to hear that familiar five-note sequence and think of those notes as your stepping stones. You can see a line over the stepping-stone notes.

唱这个节奏型时，你真的必须放开控制，因为它节奏很快。照照镜子，确保你的下巴没有随着每个音符晃动。如果你发现自己想换节奏，每次唱一半，这样你就能真正专注于前几个音符，释放喉咙或下巴的紧张感。

You really have to let go of control to sing this pattern because it moves fast. Watch yourself in the mirror and make sure that your jaw isn’t bouncing with each note. If you find yourself trying to change the rhythm, sing half of the pattern each time it plays so that you can really focus on the first few notes to release the tension in your throat or jaw.

跳过间隔

Skipping through the intervals

并非每首歌的音符都是紧挨着的。你可能需要跳来跳去，这需要你的敏捷性；如果你练习以下练习，你的声音就能轻松做到这一点。

Not every song has notes that are right next to each other. You may have to hop all over the place, which requires agility; your voice can do that easily if you practice the following exercises.

图 12-8和12-9中的节奏型并不简单。我希望这些在线曲目能长期帮助你，所以我添加了一些比较难的节奏型。你可能需要多听几遍这些在线曲目才能适应这些跳跃的节奏型。只需继续听，并跟着附图中的节奏哼唱，直到你掌握这些节奏型。之后，你就可以运用你在本章中学到的所有信息和技巧来应对这些节奏型了。

The patterns in Figures 12-8 and 12-9 aren’t easy. I want the online tracks to be beneficial to you for quite some time, so I added some hard patterns. It may take a few times listening to the online tracks to get used to these bouncing patterns. Just keep listening and humming along while following the patterns in the accompanying figures, until you get the patterns straight. After that, you can tackle the patterns, using all the information and skills you’ve been developing throughout the chapter.

当你唱跳跃的音型时，保持喉咙张开，保持喉咙稳定。如果你感觉喉咙在上下跳动，可以回到在线曲目开头的一些较简单的音型。当你能唱出这些音型并且喉咙稳定时，再回到本节。请阅读本章前面“处理音域转换”部分中的建议。

As you sing patterns that hop around, keep your larynx steady by keeping your throat open. If you feel your larynx bobbing around, go back to some of the easier patterns from the beginning of the online tracks. When you can sing those patterns with your larynx steady, come back to this section. Read the suggestion in the section, “Tackling Register Transitions,” earlier in the chapter.

看看图12-8中活泼的附点节奏。你唱的大多是流畅的八分音符，现在该给它们增添一些趣味了。由于音符跳动得很快，一定要确保你没有通过上下颌或喉咙的跳动来改变音符。记住，音符的变化是在你的喉咙内部发生的，而不是因为你的下颌跳动。

Check out the spunky dotted rhythm in Figure 12-8. You’ve been singing mostly smooth eighth notes, but now it’s time to spice them up. Because the notes jump around so quickly, be positively sure that you’re not bouncing your jaw or your larynx to change notes. Remember that the note changes inside your larynx, not from your jaw bopping around.

请注意，当歌手演唱图12-9中的节奏型时，即使节奏型跳跃，声音也十分流畅。感受呼吸的动量，让节奏保持流畅，但尽量不要让音符在音程跳跃时出现抖动。

Notice that as the singers sing the pattern in Figure 12-9, the sound is smooth, even though the pattern is bouncing around. Feel the momentum of your breath to keep the line moving, but try not to let the notes jerk as you leap around on the intervals.

掌握流行音乐的模式

Mastering patterns in pop music

图 12-10和12-11中的节奏型很短，但它们让你有机会演唱一些在流行歌曲中经常听到的基本riff。流行音乐的特点之一是声音的自由：你可以不受约束地沿着旋律线移动。试着在演唱时找到一种自由流畅的音乐线条。

The patterns in Figures 12-10 and 12-11 are short, but they give you a chance to sing some basic riffs that you often hear in pop songs. One of the characteristics of pop music is freedom of sound: You can move along the melody line uninhibited. Try to find a free flow of the musical line as you sing.

当歌手们演示图 12-10中的模式时，他们可以轻松地移动，而无需试图唱出巨大的声音。你在其他章节中已经探索过巨大的声音，但现在你可以探索一种更随意的声音。

As the singers demonstrate the pattern in Figure 12-10, they easily move without trying to sing a huge sound. You explore big sounds in the other chapters, but now you can explore a sound that’s a little more casual.

尝试图 12-11中的下行流行乐即兴重复段。注意，它以相同的基本音符开头。练习完这个之后，你可以自己尝试创作一个上行的即兴重复段。只需让它们听起来更像流行音乐就行。你在其他练习中已经很精准了，但现在你可以让它更有趣一些。

Try the descending pop riff in Figure 12-11. Notice that it begins with the same basic notes. After you try this one, experiment on your own to create an ascending riff. Just make them funky to sound like pop music. You’re precise in other exercises, but now you can spice it up.

用和弦演唱流行乐段

Singing pop riffs with chords

图 12-10和12-11中唱出的节奏型可以帮助你探索流行音乐的音色。这些节奏型经常出现在流行歌曲中，所以你现在可以用在线音轨中第 46 首曲目听到的和弦自己唱出来。最初几次尝试时，你可能会感到沮丧。但只要继续尝试就好。每次我和不习惯唱流行音乐的学生一起尝试，他们都会努力唱对。唱出与和弦不协调的音符是正常的——一笑置之，然后再试一次。你甚至可以尝试跟着一首熟悉的歌曲一起唱，并自己添加一些音符；你经常听到有人这样做。

The patterns that you sing in Figures 12-10 and 12-11 help you explore a pop sound. Those patterns often arise in pop songs, so you can now sing them on your own with the chords you hear on Track 46 on the online tracks. The first couple of times you try this, you may feel frustrated. Just keep trying. Each time I try this with students who aren’t used to singing pop music, they try to sing it right. Singing notes that don’t blend with the chords is okay — laugh it off and try again. You can even try singing along with a familiar song and adding a few notes yourself; you hear people do that all the time.

在第46首曲目中，你会听到一段和弦弹奏，歌手们正在即兴演唱一段旋律。他们练习了图12-10和图12-11中列出的旋律模式，然后将其中一些音乐理念融合在一起，创作出属于自己的旋律模式序列。演唱完全是即兴的。我只是弹奏了和弦，让他们演唱。听完他们的即兴表演后，你可以自己尝试一下。你可以模仿他们演唱的内容，也可以自己创作一段riff。歌手演示完riff后，接下来的几个和弦就交给你尝试即兴创作了。一开始，勇敢地创作一些简单的旋律。随着你水平的提高，你可以创作更长的旋律模式。只要你演唱的内容与和弦相得益彰，你就达到了目标。

On Track 46, you hear a chord played and singers singing an improvised melody. They practiced the patterns listed in Figures 12-10 and 12-11 and then combined some of those musical ideas to create their own sequence of patterns. The singing is totally improvised. I simply played the chord and let them sing. After you listen to their improvisation, try it yourself. You can sing what they sang, or you can make up your own riff. After the singer demonstrates the riffs, the next few chords are for you to try to improvise by yourself. Be brave and make up something simple in the beginning. As you get better at it, you can make up longer patterns. As long as what you sing blends with the chord, you’re right on target.

在第47首曲目中，你会听到一首流行歌曲的背景音乐。你会听到歌手即兴创作一段旋律，然后喊你尝试一下。你可以用之前学习过的riff创作自己的旋律。听几遍这首歌，感受一下，然后尝试一下即兴创作。刚开始的几次，你可能会感到迷茫，但你会越来越熟练。

On Track 47, you hear the background track to a pop song. You hear the singer improvise a melody and then call out for you to try it. You can make up your own melody by using the riffs you’ve explored. Listen to the track a few times to get the feel of it, and then try your hand at improvising. The first few times, you’ll feel lost, but you’ll get better at it.

在第48首歌里，你会听到另一首歌的背景音乐。这次，歌手会为你开场，但剩下的部分你得自己唱。听几遍这首歌，熟悉一下它的声音。然后，你就可以创作自己的流行歌曲了。

On Track 48, you hear the background track to another song. This time, the singer gets you started, but you get to sing the rest of it by yourself. Listen to the track a couple of times to get used to the sound. You then can make up your own pop tune with riffs.

如果你对流行乐的riff不太了解，可以试试这个。像往常一样唱一遍你最喜欢的歌曲。现在，唱一遍，并添加一些riff——修饰一下旋律，让它听起来像一首流行歌曲。第一次尝试时，在旋律上加几个额外的音符。下次，在旋律上加更多额外的音符。你加的音符越多，你的声音就越灵活、越灵动。

If you just aren’t sure about pop riffs, try this. Sing through your favorite song as you always do. Now sing through the song and add some riffs — embellish the melody to make it sound like a pop song. The first time you try it, add a few extra notes to the melody. Next time, add more extra notes to the melody. The more notes you add, the more flexible and agile your voice becomes.

自言自语

Talking to yourself

在探索接下来章节的说话声音练习之前，请先录下自己的说话声调。听自己说话的声音和听录音的声音是不同的。播放自己的录音时，你可以从外部音源听到自己说话的声调。你甚至可以在语音信箱里听留言。注意你说话的音色是低还是高，是明亮前卫还是低沉低沉。你也可以录下自己谈论生活中一些快乐事件的对话：由于情绪激动，你的说话声调可能会更加丰富多样。

Before you explore the speaking voice exercises in the upcoming sections, record yourself speaking and listen to the tone. Just listening to yourself talk involves a different sound than when hearing your voice from a recording. When you play a recording of yourself, you can hear the tone of your speaking voice from an outside source. You can even listen to your message on your voicemail. Notice whether the pitch of your speaking voice is low or high and whether your tone is bright and forward or dark and muffled. You can also record yourself during a conversation discussing some happy event in your life: Your speaking voice may have more pitch variety because of the excitement of your emotions.

每个人说话时都会回到一个中心音色。你可以调整你的核心音色，找到一个能让你的声音听起来最响亮、最有共鸣的音色。探索以下练习，探索一个有共鸣的说话声音，然后找出哪个音色在你的说话声音中听起来最好。

Everyone has a central pitch that they return to when speaking. You can change your central speaking pitch to find one that helps you get the most ringing and resonant tone from your speaking voice. Explore the following exercise to explore a resonant speaking voice and then find which pitch sounds the best in your speaking voice.

吟诵和说话

Chanting and speaking

为了理解我所说的共鸣说话声音，我希望你探索一下吟诵，它就像说唱一样。探索吟诵有助于你理解说话的共鸣音色和唱歌的共鸣音色之间的密切关系。要探索吟诵，你需要唱出一些音色，吟诵相同的音色，然后说出相同的音色。

To understand what I mean about resonant speaking voices, I want you to explore chanting, which is like speak-singing. Exploring chanting helps you understand the close relationship between a resonant tone for speaking and a resonant tone for singing. To explore chanting, you sing some pitches, chant the same pitches, and then speak the same pitches.

这个练习用的是《三只瞎老鼠》开头的三个音符。在进行以下步骤之前，你可以先唱一小段来温习一下：

This exercise uses the opening three notes to “Three Blind Mice.” You may want to sing a bit of the song just to refresh your memory before following these steps:

1. 唱出“三只瞎老鼠”的前三个音符，并注意喉咙的感觉。

   确保你唱的歌曲的胸腔共鸣部分不是太低。你的最佳音高不是你能唱或说的最低音。它需要更高一些才能找到最大的回响和共鸣。

2. Sing the first three notes of “Three Blind Mice” and notice the feeling in your throat.

   Make sure that your version of the song isn’t really low in your chest voice. Your optimum pitch isn’t the lowest note you can sing or speak. It needs to be higher to find the most ring and resonance.

3. 说出开头的歌词“三只瞎老鼠”。

   女声的音色最好在中央C附近或略高一点，男声的音色最好在中央C低八度或略高一点。如果你觉得自己说话太低，可以尝试提高音色。

4. Speak the opening words “Three Blind Mice.”

   Aim for a pitch that’s in the vicinity of Middle C or a little higher for women and around an octave below Middle C and higher for men. You can explore higher pitches if you think that you’re speaking too low.

5. 再唱一遍《三只瞎老鼠》的前三个音符。
6. Sing the first three notes of “Three Blind Mice” again.

7. 用一个音符吟唱歌曲的前三个音符。

   吟诵的意思是说唱音色，就像你在寺院里听到僧侣们那样。说唱音色时，你需要在说话时拉长元音，就像唱歌时一样。吟诵可能会让人觉得很傻，因为它要么看起来像是在努力让听障人士理解你，要么听起来像在唱歌。

8. Chant the first three notes of the song on one note.

   Chanting means to speak-sing the pitches, as you hear monks doing in monasteries. To speak-sing the pitches, you hold out vowels when you speak, similar to what you do when you sing. Chanting may feel silly because either it seems like you’re working to get someone who’s hard of hearing to understand you or it feels like singsong.

9. 再次说出这首歌的前三个单词（这次要自然地说），看看会出现什么音色。

   在唱歌、吟诵和说话时，保持相同的共鸣感，并保持音色一致。记住，要像唱歌一样，将呼吸与说话的声音连接起来。

10. Speak the first three words of the song again (speaking naturally this time) and see what pitches come out.

    Keep the sensations of resonance similar in your singing, chanting, and speaking all on the same pitches. Remember to connect your breath to the speaking voice just as you do for singing.

您还可以选择用较高的音色唱“三只瞎老鼠”，然后用这些音色吟唱和说话。

You can also choose to sing “Three Blind Mice” on higher pitches, and then chant and speak into those pitches.

做这个练习时，你可能会感到紧张或有压力。如果是这样，请遵循以下说明：

You may feel strain or pressure when doing this exercise. If so, follow these instructions:

• 如果你感到紧张，很可能是因为你正在用整个胸腔来发出声音。从底部向上拉起重量的感觉意味着你正在积极地使用胸腔。试着再次说话，但使用更接近中声的音色（中声是指产生头声和胸声的肌肉群共同作用，而不是仅仅使用胸声）。为了释放胸声的重量，可以用更轻盈的语调说话，就像你年轻天真一样。这种充满青春气息的声音有助于释放胸声的重量，并更多地使用头声。
• If you feel strain, you’re probably using your full chest voice to create the tone. The feeling of pulling up weight from the bottom means you’re actively engaging your chest voice. Try speaking again, but use a tone more similar to your middle voice (a balance of muscle groups that create head voice and chest voice working together instead of just chest voice). To release the weight of chest voice, speak with a lighter tone as if you’re young and innocent. That youthful sound helps release the weight of chest voice and engage more head voice.
• 如果您在说话时感到压力，这可能是因为您在说话时没有保持一致的气流。
• If you feel pressure when you’re speaking, it may be because you’re not maintaining a consistent airflow as you’re speaking.
• 如果音色太过轻柔，那就调动你的身体。你的整个身体都应该做好准备，帮助你发出声音。你可以假装自己即将跳起来跳舞，这样你就能感受到身体的投入。
• If the tone is too wispy and light, engage your body. Your whole body should be ready to help you make the sound. You can pretend that you’re about to leap up and dance to help you feel the commitment from your body.
• 你也可以在本章后面的“运用身体能量找到清晰的音色”部分中探索这个练习。再试一次，打开你的喉咙，找到你的呼吸，并将音色瞄准到你的正前方。
• You can also explore the exercise in the section “Using body energy to find clarity of tone,” later in this chapter. Try again and open your throat, find your breath, and aim the tone right in front of you.

找到最佳的说话音色

Finding your optimum speaking pitch

在上一节中，你会发现你可以从唱歌过渡到吟诵再到说话，并在说话或唱歌时运用相同的呼吸技巧和音色。在探索吟诵的过程中，你会发现你声音中听起来最好的音色，称为最佳音色。你的最佳说话音色，或者说你声音中听起来最好的中心说话音色，通常是你说“嗯哼”的时候。对大多数人来说，嗯的音色效果最好。如果有人问你一个问题，而你不假思索地回答，那么如果你是女性，你可能会在靠近中间声音的音色上发出这个音色，如果你是男性，你可能会在靠近胸腔共鸣的音色上发出这个音色。这很好。最佳音色的音色很重要，而不仅仅是音色本身。

In the previous section, you find that you can move from singing to chanting to speaking and apply your same breathing technique and tone production when speaking or singing. In exploring chanting, you find the pitch that sounds the best in your voice, called the optimum pitch. Your optimum speaking pitch, or the central speaking pitch that sounds the best in your voice, is usually where you say, “Uh-huh.” The pitch on huh works the best for most people. If someone asks you a question and you answer without thinking about what you’re doing, you probably make the tone on a pitch near your middle voice if you’re a woman and near chest voice if you’re a man. This is good. The tone of the optimum pitch is important, not just the pitch itself.

要找到最佳音色，请按照以下步骤操作：

To find your optimum pitch, follow these steps:

1. 说“嗯哼”。

   注意“嗯哼”中第二个音色的发音。

2. Say “Uh-huh.”

   Notice the second pitch that you sound for the huh of “Uh-huh.”

3. 说几次“嗯哼”，然后在“嗯哼”之后立即说出你的名字，开始说话。

   注意你叫自己名字时的音色。是像“嗯嗯”那样的音色吗？还是更低一些？如果更低，再试一次，用和“嗯”一样的音色念你的名字。

4. Say “Uh-huh” a few times and then move right into speaking by saying your name immediately after the huh.

   Notice the pitch when you said your name. Was it one of the pitches in “Uh-huh,” or was it lower? If it was lower, try again and say your name on the same pitch as the huh.

最佳说话音色能帮助你找到最突出的振动和最顺畅的说话力量。之后，你可以将这种感觉运用到其他音色上。如果你不确定哪个音色听起来最好，可以请朋友听一听，或者录下自己的声音，然后再听一遍。探索不同的音色是可以的；这正是练习的目的。

Your optimum speaking pitch helps you find prominent vibrations and easy carrying power to your speaking voice. You can then take that to other pitches. If you aren’t sure what sounds best, ask a friend to listen or record yourself and listen back. It’s okay to explore different pitches; that’s the objective of the exercise.

聆听说话时真正嗡嗡作响或颤动的音色。最佳说话音色并非音域内最低或最高的音；对于女性来说，它位于中音区附近；对于男性来说，它位于胸腔共鸣区附近。

Listen for the pitches that really buzz or really vibrate as you speak. The best speaking pitch isn’t the lowest or highest note of your range; it’s somewhere near the middle voice range for women and the chest voice range for men.

扩大你的说话范围

Increasing your speaking range

想要获得高分，下一步就是练习用一种在各种音色上运用前向共振和高能量的语调说话。请先完成上一节的练习，然后再尝试这项练习。了解你的最佳说话音色，并探索这种声音和感觉，你就能更好地准备这项练习，因为你将理解你说话声音中的音色。准备好后，试试这个：

The next step in your quest of a belt is to practice speaking with a tone that uses forward resonance and high energy on various pitches. Please don’t try this exercise until you explore the exercise in the previous section. By knowing your optimum speaking pitch and exploring that sound and feeling, you’ll be more prepared for this exercise, because you’ll understand the pitch in your speaking voice. When you’re ready, try this:

1. 尝试变得单调。

   找到你最合适的说话音色，练习用最合适的音色单调地朗读食谱或报纸上的文章。这意味着要用一个音色说出每个字，不要像平常说话那样变化音色。

2. Try being monotone.

   Find your optimum speaking pitch, and practice reading a recipe or an article from the newspaper in a monotone on the optimum pitch. That means saying every word on one pitch and not varying as you do when you normally speak.

3. 当单调变得相当容易时，通过交替两个相邻的音色来改变您的阅读方式。

   现在只使用两个音色，这样你就可以连接呼吸并感受到身体和脸部的感觉。

4. When the monotone is quite easy, vary your reading by alternating between two adjacent pitches.

   Use only two pitches for now so you can connect the breath and feel the sensations in your body and face.

5. 当您感到自信时，调高一点音色并重复步骤 1 和 2。

   在较高的音色上，你需要保持说话声音在前一个音色上的共鸣音。就像在唱歌练习中一样，随着音色的升高，共鸣也需要升高。你还需要保持混合的声音，而不是变成头声。

6. When you’re feeling confident, move up to a slightly higher pitch and repeat Steps 1 and 2.

   On the higher pitch, you want to maintain the resonant tone of your speaking voice that you had on the previous pitch. Just as in the singing exercises, the resonance needs to move higher as you ascend in pitch. You also want to maintain a mixed sound and not flip into head voice.

7. 每次你对自己说话的音色有信心时，就尝试下一个更高的音色，并在重复步骤 1 和 2 时将其用作中心说话音色。
8. Each time you’re confident of the pitch you’re speaking, try the next-higher note and use that as the central speaking pitch when you repeat Steps 1 and 2.

女士们，当你唱到中央C上方的F音后，你会觉得自己再也唱不下去了。其实你可以的。找到一个中间音或混合音，而不是厚重的胸腔声部，然后继续唱。

Women, after you get to the F just above Middle C, you’ll feel like you can’t speak any higher. You can. Find a middle voice or mixed sound, not heavy chest voice, and continue speaking.

尝试练习并探索几个音高后，请收听在线音轨上的第49首曲目，听一位女性演示如何提高音阶以扩大她的说话音域。练习时可以切换到头声。继续练习用头声说话，并逐步提高用混合音说话的能力，方法是让共振振动在身体中下降，并在音高下降时逐渐增加更多的胸腔声。男性通常用胸腔声说话，因此在改变音高时不会感觉到音域变化太大。

After you try the exercise and explore a few pitches, listen to Track 49 on the online tracks to hear a female demonstrate how to move up the scale to increase her speaking voice range. Flipping into head voice when you try this exercise is okay. Keep working on speaking in head voice and steadily develop your ability to speak in a mix by allowing the vibrations of resonance to drop lower in your body and gradually add more chest voice as you descend in pitch. Men tend to speak in chest voice so you won’t feel a huge register shift when you change pitches.

在第49首歌中，你可以听到一位女歌手示范“Give that back!”（把那个还​​给你！）的发音，音色也逐渐升高。她从中央C附近开始，逐渐提高音阶。注意，随着音阶升高，她的说话声始终保持强劲。最初几次尝试这个练习时，你可能觉得只提高几个音阶就很舒服了。当你的声音稳定下来后，再尝试提高几个音阶。曲目中的示范歌手已经练习这个练习很长时间了，并且对她的说话声调升高很有信心。注意她随着音阶升高，共鸣声是如何升高的。即使你没有用头声，你也希望共鸣声升高。如果你是一位女中音歌手，并且因为在音阶升高时降低胸腔共鸣声的难度而感到沮丧，那么在第49首歌中听到的这位歌手拥有深沉的女中音演唱嗓音，却能轻松地在中央C高八度上展示她的说话声，她是一位非常棒的歌手。继续练习，拓展你的说话声域。

On Track 49, you can hear a female singer demonstrating the sound of speaking “Give that back!” and moving higher in pitch. She starts near Middle C and gradually works her way up the scale. Notice that as she moves up the scale, her speaking voice stays strong. The first few times you try this exercise, you may feel comfortable going up only a few steps. When those few steps are solid in your voice, try moving up a few more steps. The singer demonstrating on the track has worked on this exercise for quite some time and is confident moving quite high with her speaking voice. Notice how the resonance moves higher as she ascends. You want the resonance to move higher even though you’re not going into head voice. In case you’re a mezzo and discouraged because the concept of lightening your chest voice as you ascend is hard, the singer you hear on Track 49 has a deep mezzo singing voice, yet easily demonstrates her speaking voice over an octave above middle C, and she’s a terrific belter. Keep practicing to develop your speaking voice range.

利用身体能量找到音色的清晰度

Using body energy to find clarity of tone

运用身体能量确实有助于获得清晰的说话或唱歌声音，尤其是对于高声歌唱。我所说的身体能量是指身体内涌动的能量，它可以帮助你发出声音，比如当你要举起重物或大喊时。当你将同样的动作或能量应用到唱歌中时，你可以利用有目的的气流在特定音色上创造出清晰的音色。因此，将这个想法与说话联系起来意味着从第 3 章中找到你的身体姿势调整，从第 4 章中找到呼吸，从身体动作中找到一些能量，然后用你的说话声音发出声音。你会发现，仅仅是因为你身体内涌动的呼吸和能量，你的说话声音就可以发出很大的声音。能量的激增必须来自你身体的中心。

Using body energy is really helpful to get a clear speaking or singing sound, especially for belting. By body energy, I mean that surge of energy in your body that helps you make the sound, such as when you’re about to lift something heavy or when you yell. When you apply this same kind of movement or energy to singing, you can take advantage of that purposeful flow of air to create clear tones on a specific pitch. So connecting this idea to speaking means finding your alignment from Chapter 3, finding the breath from Chapter 4, finding some energy from physical movement, and then making the sounds with your speaking voice. You find that your speaking voice can make plenty of noise just because of the breath and energy surging in your body. The surge of energy must come from the center of your body.

• 当您唱出您最喜欢的歌曲的一部分时，从一只脚到另一只脚来回摇摆，或者左右摆动臀部，感受整个身体能量的涌动或连接。
• As you sing part of your favorite song, rock back and forth from one foot to the other or swing your hips from side to side to feel the surge or connection of energy for your whole body.
• 您还可以原地弹跳，让双腿运动起来，或者与想象中的击剑伙伴互动。
• You can also bounce in place just to get your legs in motion or engage an imaginary fencing partner.
• 芭蕾课上的屈膝动作是另一种锻炼上半身和下半身的方法。屈膝的意思是“弯曲”。在这种情况下，你需要弯曲膝盖，逐渐向地面移动，然后再抬起。
• Using a plié from your ballet class is another way to engage your upper and lower body. Plié means “to bend.” In this case, you bend your knees as you gradually move toward the floor and then back up.
• 你也可以边唱歌边扶着重物。不要去搬台球桌，而是边唱歌边搬一本厚书。注意，当你搬起书本时，你的声调会随着能量的流动而变化，这可能会让声调更清晰。尝试搬起物体时，保持呼吸顺畅。
• You can also just hold on to something heavy as you sing. Don’t go lifting the pool table, but lift a heavy book as you sing. Notice that, as you lift the book, the tone of your voice responds to the energy moving, which probably makes the tone clear. Keep your breath moving as you experiment with lifting objects.

你想让你的呼吸保持顺畅。你确实可以收紧呼吸并发出清晰的声音，但你现在已经知道紧张是什么感觉了，而且你也知道从长远来看，这不会对你有任何帮助。

You want your breath to keep moving. It’s possible to really squeeze and make clear tones, but you know what tension feels like by now, and you know that it won’t help you in the long run.

要提高音量并发出更响亮的音色，需要加快气流并增加能量。要逐渐提高音量（渐强），说话或唱歌时，需要加快气流并增加能量。请参阅第四章关于歌唱呼吸的内容。练习用歌曲中的对话或独白来说话；开始时声音轻柔，然后逐渐增大，以练习这种持续能量流动的技巧。高声歌唱需要很大的努力；你需要用身体——而不是喉咙——来付出努力。

To pump up the volume and make a louder tone, use a faster flow of air and add more energy. To gradually get louder (crescendo) as you speak or sing, speed up the flow of air and exert more energy. See Chapter 4 about breathing for singing. Practice speaking through some dialogue from a song or a monologue; start the tone softly and then gradually get louder to practice this idea of a consistent energy flow. Belting requires a lot of effort; you want your body — not your throat — to make the effort.

比较腰带声音和胸腔声音

Comparing belt and chest voice

高声演唱类似于强劲的混音，而不是饱满厚重的胸腔共鸣。将厚重的胸腔共鸣保留在嗓音的低沉部分。

Belting is similar to a strong mix rather than a full, heavy chest voice. Save the heavy chest voice sounds for the bottom of your voice.

如果你不花时间增强中声部的力量（参见第11章），也不花功夫练习说话的声音，让你的声音为发出高能量的声音做好准备，那么高声演唱可能会对你的歌唱嗓音造成不利影响。（参考前面“音高练习”部分中的练习。）

Belting can be detrimental to your singing voice if you don’t take the time to gain strength in your middle voice (see Chapter 11) and work on your speaking voice to prepare your voice for the high-energy sounds you need to make. (Use the exercises in the earlier section, “Playing around with Pitch.”)

在曲目 50 中，听听女歌手演示厚重胸腔声音在a h 元音上的重量与带状声音在“a”元音上的共鸣之间的差异。她演示的胸腔声音是 100% 的胸腔声音，是厚重的胸腔声音。她感觉到她的胸腔声音比带状声音重得多，因为她改变了带状声音的共鸣。那种共鸣听起来可能很讨厌，但通过感受两种声音之间的差异，她能够使用前向共鸣来帮助她的带状声音，而不仅仅是厚重的胸腔声音。通过练习她的说话声音，她能够在不使用整个胸腔声音的情况下发展她的带状声音。再次聆听曲目 50，要知道令人愉快的讨厌的前向共鸣是一个临时的工具，可以帮助您找到减轻胸腔声音的方法，以后您可以改变共鸣。

On Track 50, listen to the female singer demonstrate the difference between the weight of a heavy chest voice sound on an ah vowel and the resonance of a belted sound on an “a” vowel. The chest voice sound she demonstrates is 100 percent chest voice, a heavy chest voice sound. The sensation she felt was that her chest voice was much heavier than the belt sound because she changed the resonance for the belt sound. That resonance may sound obnoxious, but by feeling the difference between the two sounds, she’s able to use forward resonance to help her belt instead of just heavy chest voice. By working on her speaking voice, she was able to develop her belt without engaging her full chest voice. Listen to Track 50 again knowing that delightfully obnoxious forward resonance is a temporary tool to help you figure out lightening up chest voice, and later you can change the resonance.

了解自己作为初学者的极限

Knowing your limits as a beginner belter

高声演唱和其他唱歌技巧一样，需要时间才能掌握。如果你刚开始练习高声演唱，可以把它融入你的日常生活，但不要只做这一项。你不会在第一天注册会员就去健身房，然后一整天都待在跑步机上。给自己一些时间来增强肌肉力量，以便以健康的方式发出声音。

Belting is like any other singing skill; it takes time to master it. If you’re just beginning to belt, make it part of your daily routine — but not the only part of your daily routine. You don’t go to the gym on the first day you buy the membership and spend the entire day on the treadmill. Give yourself time to build up the muscle strength to make the sounds in a healthy way.

如果你发现自己在练习结束时用力过猛或感到疲惫，请回头检查一下你的技巧。如果清单上的所有要点都进展顺利，下次练习时可以缩短练习高声吟唱的时间。同时，继续练习你的说话声音，保持良好的状态。在发现高声吟唱后，一定要练习你声音的各个方面。你需要保持技巧的平衡，并在声音的各个方面增强力量。

If you find yourself pushing or feel tired at the end of a work session, go back and check your technique. If all the points on your checklist are in good working order, shorten the amount of time that you work on belting at your next practice session. Continue to also work on your speaking voice to keep it in good shape. Be sure to work on all areas of your voice after you discover belting. You want to keep your technique balanced and build strength in all areas of your voice.

注意性别之间的差异

Noting the difference between the sexes

不仅男女之间的高声演唱存在差异，不同嗓音类型的高声演唱也存在差异。继续阅读，探索其中的差异，并培养一套适合您嗓音的健康高声演唱技巧。

Belting is different not only between women and men, but also for different voice types. Keep reading to discover the differences for yourself and develop a healthy belting technique, custom designed for your voice.

协调呼吸和能量

Coordinating breath and energy

发出高亢的声音时，必须保持空气的流动。如果空气流动不够快，你可能会发现自己为了发出声音而挤压或收紧身体。随着声音越来越强烈，你还必须增加能量的流动。高声吟唱。高声吟唱所需的能量流可能比中声所需的能量流更大。在房间里走动，让你的整个身体与歌声连接起来，就像你在本章前面“运用身体能量找到清晰的音色”一节中所做的那样。将高声吟唱中协调的呼吸和能量提升到一个新的水平是本章的目标之一。

When you’re making belting sounds, you must maintain a consistent flow of air. If your air isn’t flowing quickly, you may find yourself squeezing or tightening to make the sounds. You must also increase energy flow as you make more intense belting sounds. The flow of energy you need to create belting sounds may be greater than the amount of energy you need in your middle voice. Move around the room to connect your whole body to your singing, as you did earlier in the chapter in the section “Using body energy to find clarity of tone.” Taking coordinated breath and energy to the next level for belting is one of the goals of this chapter.

混合讲话

Speaking in a mix

混音不仅可以用于唱歌，还可以用于说话。说话时使用混音可以帮助您了解唱歌时需要做什么。您可以回到本章前面的练习，探索您的最佳说话音色，然后将最佳声音提升到更多音色。如果您研究第 11 章（其中描述了声音的音域），您可以将相同的音色注册工作应用到您的说话声音中。读一些文本并使用纯胸腔共鸣。这会感觉很沉重。再次朗读文本，并让头声占主导地位 —— 您听起来可能很年轻。了解说话时的胸腔共鸣和头声可以让您现在探索组合 —— 混音 —— 在接下来的练习中。

You can use a mix not only for singing, but also for speaking. Using a mix when you speak helps you understand what you need to do when you sing. You can go back to the earlier exercises in the chapter to explore your optimum speaking pitch and then take that optimum sound to more pitches. If you explore Chapter 11, which describes the registers of the voice, you can apply that same registration work to your speaking voice. Speak some text and use a pure chest voice. It’s going to feel really heavy. Speak the text again and allow it to be head voice dominated — you likely sound very young. Knowing what is chest voice and head voice when you speak allows you to now explore a combination — mix — in the following exercise.

尝试以下练习，探索你说话时的混音效果。“将共振移至前方”部分中的后续练习将帮助你在混音中添加前向共振，从而创建混音带。（更多信息，请参阅附近的侧边栏“混音带简介”。）

Try the following exercise to explore the mix when you speak. Later exercises in the section “Moving Resonance to the Front” help you add forward resonance to your mix to create a mix belt. (See the nearby sidebar, “Introducing mix belt,” for more information.)

第52首歌（“我想知道！”）的练习可以让你探索用不同音色说话。听听歌手的示范。注意，她说话的声音听起来很轻松，像在交谈。随着音色的升高，她保持着轻松的语调，共鸣也随之升高。她的声音是混合的——既不是胸腔共鸣，也不是头腔共鸣，而是两者的结合。听几遍之后，再播放一遍，加入进来。

The exercise on Track 52 (“I Wanna Know!”) allows you to explore speaking on a variety of pitches. Listen to the singer demonstrate for you. Notice that the sound of her speaking voice is chatty and conversational. As she moves higher in pitch, she maintains the chatty sound and the resonance moves higher. The sound is a mix — neither chest voice nor head voice but a combination of both. After you listen to the track several times, play it again and join in.

打电话给朋友

Calling out to a friend

发出高能量的说话声音，例如呼唤朋友或向假想的敌人提出要求，有助于您找到鼻腔共鸣并协调呼吸和能量。

Making high-energy speaking sounds, such as calling out to a friend or making demands of an imaginary foe, helps you find nasal resonance and coordinate breath and energy.

假设你的朋友在一个嘈杂的房间的另一边。试着喊“嘿”来引起他们的注意。运用你对呼吸和能量的了解来与这个声音建立联系。你想象中的朋友没有回应，所以用不同的音色再喊一次“嘿”。记住，用你的说话声音探索不同的音色是可以的。你也可以修改这个练习：喊出诸如“还给我！”或“退后！”或“永不！”之类的短语，甚至可以试着向你的朋友推销一些东西。棒球场上的许多小贩都在大声叫卖，但他们自己却浑然不知。试着向想象中的人群卖一些苹果、橘子或爆米花。运用你在第 7 章中学到的关于共鸣的知识，让声音在你的脸上振动，找到鼻腔共鸣。

Pretend that your friend is across a noisy room. Try to get their attention by calling out, “Hey.” Use your knowledge of breath and energy to connect to this sound. Your imaginary friend doesn’t respond, so call out “Hey” again on a different pitch. Remember that it’s okay to explore different pitches with your speaking voice. You can also modify this exercise: Call out phrases such as “Give me that back!” or “Back off!” or “Never!” or even try to sell your friend something. Many of the vendors at the ballpark are belting and don’t even know it. Try selling some apples, oranges, or popcorn to an imaginary crowd. Use your knowledge of resonance from Chapter 7 to get the tone vibrating in your face to find nasal resonance.

在第53首歌中，你会听到歌手展现出高能量的说话声音。你用来练习的说话音色听起来像鼻音。听起来不像鼻音，但听起来可能有点鼻音。这是完全合法的拉高嗓音。这种开阔、浑厚、共鸣的声音很适合古典音乐。这种说话的鼻音非常适合拉高嗓音。如果你从未探索过我所描述的这种说话方式，在尝试这项练习之前，先找到在线音轨，听听其中的例子。

On Track 53, you hear the singer demonstrating high-energy speaking sounds. The speaking quality that you use to work this exercise feels nasal. It doesn’t sound nasal, but it may feel nasal. This is perfectly legal belting. The wide-open, dark, resonant sounds are good for your classical music. This twang sound that’s spoken is perfect for helping your belt. If you’ve never explored the type of speech I’m describing, get out the online tracks and listen to the examples before you attempt this exercise.

探索共振振动

Exploring vibrations of resonance

在这个练习中，你需要把头部分成三部分。其实并没有听起来那么痛苦。为了真正感受到脸部前方共振的振动，你需要探索脸部和头部后部、中部和前部的振动。继续阅读，了解头部后部、中部和前部的声音和感觉，然后聆听在线曲目中的示例：

For this exercise, you divide your head into three segments. It’s not as painful as it sounds. To really feel the vibrations of resonance in the front of your face, you want to explore the vibrations made in the very back, middle, and front of your face and head. Read on for an explanation of the sounds and sensations in the back, middle, and front of your head, and then listen to the examples on the online tracks:

• 后：假装你非常得体、非常自负，然后说：“哦，亲爱的！” 当你说这句话的时候，你应该只感受声音的振动在你的后脑勺或嘴里。你可以模仿一位非常得体的女王或皇室成员说话的声音。了解振动在很远的地方时的感觉，有助于你理解它们何时向前移动。为了确保你理解这种感觉，你需要打开口腔和喉咙的后部，并将声音保持在那里。就好像你的嘴在脑后，而你把声音从脑后发出来一样。
• Back: Pretend that you’re very proper and pompous, and say, “Oh, darling!” When you say it, you want to feel the vibrations of sound only in the back of your head or mouth. You can imitate the speaking voice of a very proper queen or royalty. Knowing what the vibrations feel like when they’re really far back helps you understand when they move forward. To be sure that you understand the sensation, you want to open the back of the mouth and throat and keep the sound back there. It’s as if your mouth is in the back of your head and you’re sending the sound out the back of your head.
• 中部：找到头部中部的共鸣感，能让你感受到振动在头部中部时的位置。你可以假装和朋友们在当地酒吧，然后说：“我不喜欢那样的打架。” 你可能会感觉声音直接从头部中部向上传来。口腔后部或喉咙的空间类似于你说话时使用的空间，而不是为了演奏古典音乐而打开的空间。想象一下你是鳄鱼邓迪或休·杰克曼，和你的朋友们说话。模仿他们说话的声音或许能帮助你找到头部中部的感觉。
• Middle: Finding resonating sensations in the middle of your head allows you to feel where the vibrations are when they’re halfway to the front. You can pretend that you’re out with your mates at the local pub and say, “Fights like that are not for me.” It may feel like the sound is going straight up from the middle of your head. The space in the back of the mouth or throat is similar to the space you use when you speak, as opposed to the space you open to create full resonant tone for classical music. Pretend you’re Crocodile Dundee or Hugh Jackman for a moment, and speak to your mates. Imitating this speaking voice may help you find the sensations in the middle of the head.
• 前部：在这一部分，你需要感觉到声音传到你的脸部，而不是后脑勺。假设你是一个在操场上和朋友们一起欢呼的孩子，或者模仿一个吵闹霸道的亲戚的声音——你知道的，就是那些说话时发出很大声音的亲戚。即使你站在他们旁边，他们也往往会大声喊叫。在这个练习中，你需要同样的共鸣。选择前面的一个例子，然后说：“是的，这就是我想要的。” 如果你不确定你是否感觉到了脸部前方的振动，可以再试一次后部、中部和前部这三个部位——感受振动逐渐向前移动，同时探索头部的三个部分。
• Front: For this segment, you want to feel the sound in your face and not at all in the back of the head. Pretend you’re a kid on the playground cheering with friends, or imitate the sounds of a boisterous and overbearing relative — you know, those relatives who make a lot of noise when they speak. They tend to shout even when you’re standing next to them. You want that same kind of resonance for this exercise. Choose one of the previous examples and say, “Yeah, that’s what I want.” If you aren’t sure whether you felt the vibrations in the front of your face, try all three again — back, middle and front — to feel the vibrations gradually moving forward as you explore all three segments of your head.

在你尝试了本练习中的三种共振类型后，请听第54首曲目中的示例，感受一下演示的声音。对于高音部分，你需要使用你刚刚探索过的正面振动。

After you try the three types of resonance in this exercise, listen to the examples on Track 54 to hear the sounds demonstrated for you. For belting, you want to use the front vibrations that you just explored.

任性才能引起共鸣

Being bratty to feel resonance

为了帮助你感受高声歌唱所需的前向共鸣，我想让你模仿一个正要告发哥哥或姐姐的小孩。你知道那种嘲讽的、像唱歌一样的声音，喵喵喵喵。做几分钟淘气鬼，找到那种告密的声音——感受你发出声音时的震动。如果你没有感觉到脸上的那种感觉，那就再试一次，表现得更淘气一些。让淘气鬼的声音在你的脸上嗡嗡作响，但不要挤压你的喉咙。

To help you feel that forward resonance needed for belting, I want you to imitate a little kid who’s about to tattle on his big brother or sister. You know that taunting, singsong sound, nya-nya-nya-nya-nya. Be a brat for a few minutes and find that tattletale sound — feel the vibrations as you make the sound. If you didn’t feel the sensation in your face, try again and be even more of a brat. Let the bratty sound buzz in your face, but with no squeezing in your throat.

当声音正确时，您会感觉到脸前或脸后方有振动。您希望声音在鼻子后方或旁边嗡嗡作响，但不要在鼻子里。如果您认为鼻音太重，请捏住鼻子发出声音。如果声音“在鼻子里”，声音就会停止，但如果声音就在鼻子后方，它会继续嗡嗡作响。如果振动发生在您的头部或脸部前方，则说明您的判断正确。振动并不集中在单一区域；您可能会感觉到整个脸部，尤其是脸颊或前额，都在振动。有些人喜欢将脸后方的区域称为“面具”。如果您熟悉这个术语，那么您正在尝试创建在面具中产生大量振动的音色。

When the sound is right, you feel vibrations in the front of your face or just behind your face. You want the sound to be buzzing behind or beside your nose, but not in your nose. If you think it’s too nasal, hold your nose and make the sound. The sound stops if it’s “in your nose,” but it continues buzzing if it’s just behind your nose. If the vibration is in the front of your head or face, you’re on the right track. The vibrations aren’t in one single area; you may feel your whole face, especially your cheeks or forehead, vibrating. Some people like to call the area behind their face “the mask.” If that’s a term you’re familiar with, you’re trying to create tones that generate plenty of vibration in the mask.

在第55首歌中，你可以听到一位女歌手为你演示喵音。这个音需要在你的脸上或鼻后嗡嗡作响——不是像鼻音那样在鼻子里，而是在鼻子后面，这样才能充分利用鼻腔共鸣。当你找到喵音后，用同样的方法朗诵一段高声歌唱的歌词。发这些音时，保持充足的呼吸，这样就不会压迫喉咙。一开始你可能不喜欢这个音，但慢慢地你可能会喜欢上它。

On Track 55, you can hear a female singer demonstrate the nya sound for you. The sound needs to really buzz in your face or behind your nose — not in your nose as in nasal, but behind your nose to take advantage of nasal resonance. When you find the nya sound, speak some text from a belting song in this same manner. As you make these sounds, keep plenty of breath moving so you don’t push in your throat. The sound may not be your favorite in the beginning, but you may grow to like it.

增加皮带范围

Increasing your belt range

有些人认为，高声演唱只能达到某个音高，因为这就是他们胸腔共鸣所能达到的最高音。在本章中，你可以了解到，高声演唱是前向共振和混合音域的结合。由于每个人的声音都不一样，有些歌手更容易高声演唱并扩大音域，而另一些歌手则觉得很难。

Some people think that you can belt only to a certain pitch because that’s how high they can take their chest voice. You can read throughout this chapter that belting is a combination of forward resonance plus mixed registration. Because not every voice is the same, some singers have an easier time with belting and increasing their belt range, whereas other singers find it tricky.

音高较高的女高音和男高音在他们的音域内唱高音时比较容易。女中音和男中音可能需要多花些功夫才能找到自己的音带。您可以在第二章中阅读有关声音类型及其音域的更多信息。如果您是女中音或男中音，并且想要提高自己的音带范围，则需要缓慢而谨慎地练习。花大约一个月的时间练习本章前面的说话声音练习。再花一个月左右的时间练习前向共振。对你来说，前向共振可能比对女高音或男高音伙伴来说更难。你的声音往往更暗沉、更厚重，因此找到前向共振需要一段时间。要有耐心。如果你急于提高音带范围，最终可能会用力过猛，发出刺耳的声音。如果你能找到前向高共振，你就会明白何时用力过猛，何时用力恰到好处，从而可以唱出更高音带的歌曲。

Higher sopranos and tenors have an easier time belting and belting high in their range. Mezzos and baritones may struggle a little more to figure out their belt. You can read more information in Chapter 2 about voice types and their range. If you’re a mezzo or baritone trying to increase your belt range, you want to work slowly and deliberately. Spend about a month working on the speaking voice exercises earlier in the chapter. Work for another month or so on the forward resonance. That forward resonance may be harder for you than for your soprano or tenor buddies. Your voice tends to be darker and heavier, so finding forward resonance is going to take you a while. Be patient. If you rush to increase your belt range, you may end up pushing and making a harsh sound. If you can find the forward high resonance, you’ll understand the difference between when you’re using too much weight and when it’s just right so you can sing higher belt songs.

如图 13-1所示，在第 56 首曲目中，歌手演唱了一段简短的腰带练习“That Ain't It Man”。你需要用到腰带声音来进行这项练习。如果你没有学习过本章前面的练习，你可能会觉得这项练习很难。返回并探索侧边栏“混合腰带介绍”中关于粗犷共鸣练习和混合音注册的解释。先练习“That Ain't It Man”，直到你能自如地演唱它，然后再继续学习前面的第 57 首曲目。第 56 首曲目中的这项练习可以帮助你在较窄的音域内使用活泼的声音。

On Track 56, illustrated in Figure 13-1, the singer on this track sings a short belt exercise, “That Ain’t It Man.” You want to use your belt sound for this exercise. If you haven’t explored the exercises earlier in the chapter, you may find this exercise hard. Go back and explore the bratty resonance exercise and mixed registration explanation in the sidebar “Introducing mix belt.” Work on “That Ain’t It Man” until you’re comfortable singing it before moving on to track 57 just ahead. This exercise on Track 56 helps you use a chatty sound in a narrow range.

提升体重

Belting up the scale

当你唱到更高的音高时，你需要结合高音共鸣和混合音域。如果你身体上理解如何结合高音前向共鸣和混合音域，那么你就能一直唱到五线谱的最高音。尝试下一个练习，练习结合混合音域和前向共鸣，这样就能一路唱到更高的音阶。你可能看起来像是在用高音说话，而音阶更高了。这是件好事。记住，高声吟唱是言语的延伸。如果你用说话的声音来做这个练习，你就走在了成为熟练高声吟唱者的正确道路上。

As you belt higher in pitch, you want to combine your high resonance and mixed registration. If you physically understand how to combine high forward resonance with mixed registration, then you can belt right up to the top of the staff. Try the next exercise to practice combining mixed registration and forward resonance to belt your way up the scale. It may seem like you’re just talking on pitch higher and higher up the scale. That’s a good thing. Remember that belting is extended speech. If you use your speaking voice for this exercise, you’re on the right track to becoming a proficient belter.

图 13-2中的练习可以让你攀登音阶，感受到我在前面“结合共鸣和音域”一节中提到的共鸣阶梯。想象你在音色上说话，无论你唱得多高，都要用到胸腔共鸣，随着你唱高，让共鸣也随之攀升。

The exercise in Figure 13-2 allows you to climb the scale and feel that resonating ladder I talk about in the earlier section, “Combining Resonance and Registration.” Think of speaking on pitch, using some chest voice no matter how high you go, and allow the resonance to climb higher as you ascend.